#their common interests is also what drives them close together

[pinkeoni]

I feel as though there is a desire to completely dichotomize byler when they don’t need to be polar opposites in order to fit together. They are individuals, but it’s their differences AND their similarities that make their dynamic what it is

[thewriteadviceforwriters]

Villains vs. Antagonists (Guide For Writers)

Hey there, fellow writers and wonderful members of the writeblr community! 📚✍️ It's Rin here and...

Today, we're diving into a topic that's close to many writers' hearts: villains and antagonists. These characters often steal the show, driving our plots forward and giving our heroes something to push against. But here's the thing – while these terms are often used interchangeably, they're not quite the same. So, let's unpack this, shall we?

First things first, let's break down the difference between a villain and an antagonist. It's a distinction that can really elevate your storytelling game!

An antagonist is simply a character (or force) that opposes your protagonist. They're the obstacle, the challenge, the thing standing in the way of your main character achieving their goal. Here's the kicker: an antagonist doesn't have to be evil. They could be a rival love interest, a stern parent, or even nature itself.

A villain, on the other hand, is a specific type of antagonist. They're the bad guy, the evildoer, the character with malicious intent. All villains are antagonists, but not all antagonists are villains. Mind-blowing, right?

Let's look at some examples to make this clearer:

In "Romeo and Juliet," the feuding families are antagonists, but they're not villains. They oppose the protagonists' desire to be together, but they're not evil.

In "Harry Potter," Voldemort is both an antagonist and a villain. He opposes Harry (making him an antagonist) and he's also evil (making him a villain).

In "Cast Away," the island and the challenges of survival are the antagonists. There's no villain in sight!

Now that we've got that sorted, let's dive deeper into how to create these characters and use them effectively in your writing.

Creating Antagonists:

Define their opposition: What specifically does your antagonist do to oppose your protagonist? This could be physical, emotional, or ideological opposition.

Give them a reason: Why are they standing in your protagonist's way? Even if it's not justified, there should be a reason that makes sense to the antagonist.

Make them strong: Your antagonist should be a worthy opponent. They need to pose a real challenge to your protagonist to keep things interesting.

Consider their perspective: Remember, your antagonist is the hero of their own story. Try writing a scene from their point of view to understand them better.

Create contrast: Your antagonist should in some way contrast with your protagonist. This could be in values, methods, or personality.

Creating Villains:

Establish their evil: What makes your villain "bad"? Is it their actions, their beliefs, or both?

Develop their backstory: How did they become evil? A compelling villain often has a tragic or twisted history.

Give them dimensions: Pure evil can be boring. Give your villain some complexity – maybe they love their cat or have a soft spot for classical music.

Create a strong motivation: What drives your villain? Greed? Revenge? A twisted sense of justice? The stronger and more relatable the motivation, the more compelling your villain will be.

Make them smart: Your villain should be clever enough to pose a real threat. They should be able to anticipate and counter your protagonist's moves.

Now, let's talk about how to use these characters in different genres. Because let's face it, a villain in a romance novel is going to look very different from one in a fantasy epic!

In Romance: Antagonists in romance are often rivals for the affection of the love interest, or perhaps societal norms or family expectations standing in the way of true love. Villains are less common, but when they appear, they might be abusive exes or manipulative friends trying to sabotage the relationship.

Tip: In romance, make sure your antagonist's motivations are clear and relatable. We should understand why they're opposing the main relationship, even if we don't agree with their methods.

In Fantasy: Fantasy is ripe for both antagonists and villains. You might have a Dark Lord seeking to conquer the world (classic villain) or a rival magic user competing for the same goal as your protagonist (antagonist).

Tip: In fantasy, world-building is key. Make sure your antagonist or villain fits logically into the world you've created. Their powers, motivations, and methods should all make sense within the rules of your fantasy realm.

In Mystery/Thriller: In these genres, your antagonist is often the perpetrator of the crime your protagonist is trying to solve. They might not be evil (maybe they committed a crime of passion), or they could be a full-fledged villain if their crimes are particularly heinous.

Tip: In mysteries, your antagonist needs to be clever enough to challenge your detective protagonist. Leave subtle clues about their identity or motives, but make sure they're smart enough to almost get away with it.

In Literary Fiction: Here, antagonists are often more abstract. They might be societal expectations, personal flaws, or even time itself. Villains in the traditional sense are less common, but morally grey characters who oppose the protagonist are frequent.

Tip: In literary fiction, focus on the nuances of your antagonist. They should be as complex and flawed as your protagonist, with their own rich inner life.

In Sci-Fi: Science fiction offers a wide range of possibilities for antagonists and villains. You might have alien invaders, oppressive governments, or even well-meaning scientists whose creations have gone awry.

Tip: In sci-fi, make sure your antagonist or villain is consistent with the technological and social aspects of your imagined world. Their methods and motivations should make sense within the context of your sci-fi setting.

Now, let's dive into some tips to make your antagonists and villains the best they can be in your novel:

Make them believable: Whether you're writing a mustache-twirling villain or a morally grey antagonist, their actions and motivations should make sense within the context of your story and their character.

Give them a personal connection to the protagonist: The conflict becomes much more engaging when it's personal. Maybe your antagonist and protagonist used to be friends, or they're fighting over the same goal.

Show their impact: Don't just tell us your antagonist is a threat – show us the consequences of their actions. Let us see how they affect your protagonist and the world of your story.

Give them wins: Your antagonist or villain should have some successes along the way. If they're always failing, they won't seem like a credible threat.

Humanize them: Even if you're writing a truly evil villain, give them some humanizing traits. Maybe they have a pet they dote on, or a tragic backstory that explains (but doesn't excuse) their actions.

Make them adaptable: A good antagonist doesn't stick to one plan. When the protagonist foils them, they should be able to come up with new strategies.

Give them their own character arc: Your antagonist or villain should grow and change throughout the story, just like your protagonist does.

Use them to highlight your protagonist's strengths and weaknesses: Your antagonist should challenge your protagonist in ways that force them to grow and change.

Consider their presentation: How do other characters react to your antagonist? How do they present themselves to the world versus who they really are?

Don't forget about henchmen: If you're writing a villain, consider giving them some underlings. This can add depth to their character and provide more challenges for your protagonist.

Remember, whether you're crafting a dastardly villain or a complex antagonist, these characters are crucial to your story. They're the ones who push your protagonist to grow, who raise the stakes, and who often drive the plot forward.

But here's a gentle reminder: while it's important to make your antagonists and villains compelling, be mindful of the impact your writing might have. If you're dealing with heavy themes or traumatic events, handle them with care and sensitivity.

Now, I know we've covered a lot of ground here, and you might be feeling a bit overwhelmed. That's okay! Writing complex characters is a skill that develops over time. Don't be afraid to experiment, to try different approaches, and to revise and refine your antagonists and villains as you go.

One exercise I find helpful is to write a short story from your antagonist's or villain's point of view. This can help you understand their motivations better and ensure they feel like real, three-dimensional characters.

Another tip: watch movies or read books in your genre and pay special attention to how they handle antagonists and villains. What works well? What doesn't? How can you apply these lessons to your own writing?

Remember, there's no one "right" way to create these characters. What matters is that they serve your story and engage your readers. Trust your instincts, and don't be afraid to push boundaries or subvert expectations.

As you work on your antagonists and villains, keep in mind that they're not just there to make life difficult for your protagonist. They're an integral part of your story's ecosystem. They shape the plot, influence character development, and often reflect themes or ideas you're exploring in your work.

And remember, writing is a journey. Your first draft of an antagonist or villain might not be perfect, and that's okay. The beauty of writing is in the revision, in the gradual sculpting of characters until they leap off the page.

Lastly, don't forget to have fun with it! Creating antagonists and villains can be some of the most enjoyable parts of writing. Let your imagination run wild, explore the darker sides of human nature, and see where your characters take you.

I hope this deep dive into antagonists and villains has been helpful and inspiring. Remember, you've got this! Your unique voice and perspective will bring these characters to life in ways no one else can.

Happy writing! 📝💖 - Rin. T

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[mecachrome]

not sure whether excerpts from oscar's book have alr been posted here but i found some of the quotes from the author's exclusive interviews with j.sera & rené quite interesting and thought i'd gather them in one place ❓__❓

i always love hearing insights on his karting days and how his unique rc bg & transition from australian to european karting shaped his racecraft... also notable that Every Single person who ever speaks about oscar is just like "well more than anything... he was SMART" 😭 obsessed with baby oscar already learning to dispense his energy in understated / calculative / strategic ways... more below the cut:

another thing i find quite interesting is how because oscar started karting in a relatively smaller scene that wasn't quite as competitive or talent-heavy as in europe, he was always too young/small for the classes he competed in (as with rc racing). of course he was never quite as egregiously undersized as lando but it's kind of fun that they have very similar karting lore in that aspect. not from the book but self-provided visuals:

also love how much the seras talk about his style, from his smooth inputs and clean driving to how much open-wheel potential he exhibited from the very beginning T__T

as for rené's insights on oscar's time at prema, i also find them interesting because while they corroborate a lot of surface level details about his junior campaigns that we're alr familiar with it's cool to be reminded of his growth from f3 (zero front row starts, winning more off consistency and competitor error than any personal dominant performance) to putting it all together in the second half of f2 (consecutive run of poles/fr wins to end the season).

also interesting to hear that THE most angry rené ever saw him was after his f3 monza penalty, because oscar's demeanor & reactions to adversity get discussed a lot and while he's always been very level-headed and i'd argue his core personality has not changed much if at all over the past 5 years, you can still see how he was just that touch less filtered and more defensive during his junior days. oscar is definitely still someone who refuses to take blame if he knows he wasn't at fault and who will never give credit to others when the work was mostly done by him ("i was the one driving" re: mweb helping him) but there has been a fairly noticeable growth curve from the guy who said he felt Physically Weak at the fr finale because of how nervous he was, who said he was grateful to be in school because it distracted him from his "habit of overthinking" that he was trying to get rid of, who complained extensively at monza about the novalak / beckmann incidents and then said "seems to be quite a common theme with liam if i'm honest 😐" re: continued contact in the press conf, to the guy today who reacts to deleted laps with a dry 👍 and stealthily downplays racing incidents to the point of not even calling them "incidents" at all.

there's also a bit from rené about how close he is to chris piastri and how he traveled to melbourne from italy Solely to attend his 50th birthday party, and basically how the piastris are just Good People and that oscar's demeanor is what sets him apart. which i thought was sweet :')

also bonus interesting media quote from laurent rossi, which i've seen before but don't remember in its entirety — specifically the part saying that the other academy drivers "weren't as curious" and basically calling oscar the only smart one of the bunch.... 😭😭😭 this freaking guy

[imbecominggayer]

Writing Advice: Too Many Characters

A common advice when writing stories is "don't write too many characters". But, like with everything creative and good, there is no definitive answer to how many characters should be in a book!

So I will be discussing numerous variables in storytelling which impacts how many characters you should have and what makes something in a book "pointless".

Themes! Themes! Themes! (Omori Spoilers, Not Too Much)

The most important question that a writer has to ask themself is "what is this scene/book/media trying to do?". If your story is based on the relationships we have with others and the impact they can have on our psyche then having a close-knitted community of people will drive the message of intimate connection better then just having more people in there. If your story is focused primarily on introspection, looking inward, individuality, and other spiritual activities then the protagonist is more likely to spend longer durations of the media by themselves.

An example of these to forces is the popular game of Omori.

(SPOILERS ABOUT OMORI<3)

Omori is a game that focuses on acceptance first and foremost. Self-acceptance to be more specific. Due to the fact that the game is a piece of introspection both for Sunny and for the player, the most important moments in the game such as the "reveal" sequence of pictures and Black Space are ones that are done on your own.

However, the game also prioritizes the relationships Sunny has between his friends as this serves as motivation for the final duet. The final duet was an act of bonding as Mari and Sunny just wanted to spend time together, doing something they liked.

The introspection moments are pushed towards the end of the game because it's only when Sunny has that support and belief in his friends, can he rise above his doubt and shame and fear.

2. What Is The Purpose Of This Character?

All characters need to have a purpose in the narrative. Both within the context of the world and in the context of the book.

Within the context of the world, they need a goal that is going to impact the protagonist either positively or negatively.

Within the context of the book, what is this character giving to the audience that wouldn't otherwise be there?

Pro tip: All the characters you have need to have more then one purpose! Characters that give exposition can't JUST give exposition.

If you have a love interest that can be cut out without taking away a vital part of the story either from a thematic(theme) standpoint or a narrative(plot) standpoint, just replace them with an object and move it along!

If you have an ally character that only shows up twice and can be changed into "I went down to the store to buy these items", give that "ally" tag to someone more story relevant"!

3. Priorites?

Ask yourself this: "Do I have the book length to dedicate time to this person?"

If the answer is no, follow my next steps. If the answer is yes, here is how to make them better.

When I say "prioritize", I mean you need to figure out what type of character this character is. Are they a main character? A side character? Cannon fodder? A symbol? WHAT ARE THEY?

Also, can you give these character responsibilities to someone else? This simultaneously gives those characters deeper complexity and eliminates more characters

Example: Love Interest, after being trapped by the villain, uses their intelligence in order to provide information about the villain to the hero. (Love Interest + Ally + Informant)

Example: Friend is revealed to be a double agent on the side of the Villain. However, it's revealed that Friend was secretly a triple agent who is finally redeemed from their original believed betrayal. They're back to being an ally. (Friend + Betrayer + Ally + Enemy)

[coffeetank]

Writing ROMANTIC TENSION!

When you're writing romance, you need to have TENSION. Your characters need to pull your readers into the story with not just their dialogues, but also their chemistry. What is tension, you ask? It's quite simple. When two people are attracted to each other, or like each other, or are in love with each other, it causes a certain shift in the air. When these two people come together, they seem to outshine everyone else in the room and make it just about themselves (in a good way ofc). This shift in the air which hooks you into the scene is called tension. The chemistry that your main characters carry, will infact carry the whole story --- if you're writing romance, i.e.

How do you write this romantic tension? Well, as someone who's been writing romance for 4 years now, here's a few things I do to show the chemistry between my characters.

Show, don't tell: This is probably the most common advice you'll ever receive. And spoiler alert: IT IS TRUE. Any scene that includes an emotion will require you to show it, visualise it for the crowd instead of just writing it down. Romance, love, is a sensitive emotion. The readers need to SEE it happening, instead of just reading about it. Eye contact, long stares, switching their gaze from the eyes to the lips & back to the eyes, coming close for a few seconds, banter-turned-flirting are some ways you can show the chemistry.

Intimacy is key: Proximity. Closeness. Coming together. Put your characters in situations where they have to work together. Show their differences/similarities in handling tasks and make them argue or slightly quarrel if there's any differences and show them rejoicing if there's an agreement. Intimacy lies in more than just the body, bring out a quality in your characters, preferably a good one, in your characters when they're together. Make that quality their strong suit that drives them closer.

Words are sexy: Dialogues can create tension better than anything else (in my opinion). Notice how every time your ships/pairings are bantering, one of them ends up saying something sexual or romantic in a frisky way and we end up blushing like crazy? Yep, that's the goal. We absolutely love it when the guy says "oh yeah?" or ends up calling the girl a cute nickname while bantering. Dialogues can reach out to readers in a more personal way because they are the direct interactions between your characters. Make your OTP interact and have fun (pun intended!)

Add restraint: Sometimes, when the characters are almost about to kiss and someone interrupts them, we feel like throwing the book away. But at the same time, we want more because we want to see our characters kiss, or confess, or even get down dirty ;). You have put your characters in each other's close proximities, given them a driving force and added a razzle-dazzle with the dialogues and flirting! Yet, something is missing and the romance feels too....predictable? Put a constraint. This is especially important for slowburns. Personally, I love me a slowburn - it creates higher tension, emphasises on a foundation between characters and makes the kiss/confession/sex even more hot (again, my opinion). I suggest, a hint of a barrier won't do any harm. When you've reached the level of tension where it's normal for your characters to kiss or make-out, your readers are more focused than ever. Adding a restraint will make them crave the romance more and hence, stay hooked into the story. HOWEVER, DON'T STALL THE PROJECT. Just because your characters got interrupted in chapter 7 doesn't mean they can't kiss till chapter 15 or something. If they don't kiss in this chapter, they kiss after maybe 2-3 more chapters. You want to delay the romance only by a tad bit, so that your readers are still interested.

That's all I have for today! I hope these help you guys! - ashlee.

[emmawithtwoms]

Board Games

@moonwater-microfic day 17 -543 words

c.w. sexual reference at the end

The air was electric in the room. People were scared, the two boys were staring into each other's eyes so intensely that Sirius swore he could see lighting pass from hazel to grey. Remus was hunched over the coffee table, elbows on his knees, hands intertwined over his mouth to conceal it, brows furrowed. Regulus was reciprocating the look, but his back was straight, poker face unmovable, while he moved his piece on the board. Remus glanced down, just for a second, but his expression did not slip, his competitiveness had a hold on him, he could not let Regulus read him, he could not lose. 

“What, Lupin, are you taken aback by my move?” 

Regulus was cold as ice, Remus could not read his expression, could not break into his mind. It was driving him crazy. He could not give him the satisfaction, he had to keep fighting. 

“I’m just surprised by how obvious it is. You’re becoming predictable, Black,”

Remus made his move, this game was gonna end soon, everybody knew it. 

It was Board Games night, and, as usual, it was ending with a chess tournament, and the Black-Lupin match was always the most anticipate.Those two were phenomenal at chess, their competitiveness, not a bit mulled by their relationship (rather increased, actually), always made the game extremely interesting to watch, and the new entries, who were not used to this kind of interest over a game of chess, were always taken aback by the dynamic of the match. 

It was the case for Dorcas: even though she was a very close friend of Regulus’, she never came to board game night. Not until she got together with Marlene, at least, and she was now totally enraptured (read, weirded out) by this particular event. 

“You might wanna think about this move, Lupin” 

Regulus was saying from the table

“Don’t wanna get too reckless.”

“Oh, don’t act like you don’t like reckless, Black” 

Remus was responding to every provocation given by his boyfriend, without ever letting the fire in him die down. 

“Ok, what exactly am I watching?”

Asked Dorcas, confused by the scene in front of her. 

“Shhh, this is their foreplaying, let them do their thing” 

Sirius answered, never letting the game out of his sight

“Huh, you seem pretty okay with your brother's sexual life, then, didn’t expect that.”

Sirius dismissed her with a wave of his hand.

“I’m not interested in his sexual life, I just wanna know if I'll be able to sleep in my bed tonight” 

“What does that have to do with…” 

But as Dorcas was finishing his sentenced, Remus smirked and exclaimed 

“Checkmate, Black” 

“Fuck off, Lupin” 

Regulus grumbled 

“Oh Fuck off! Come on Prongs, Wormy, get ready to sleep in the common room tonight” 

Dorcas was more confused than before

“What? Why would they sleep down here?” 

Marlene laughed at Sirius’ despair

“You see, those games are not only a fun way to end the night and rile each other up, for those two, it also settles in wich bed they’re gonna shag for the night” 

Dorcas hummed in understanding, as she saw Remus taking a grumbling Regulus by hand and dragging him up the stairs, while waving goodnight at their friends.

a.n: the moonwater brainrot is getting stronger everyday, soldiers

[bambi-kinos]

I've heard Paul say that Linda and John have something in common. What do you think about this ? What's the difference between Paul's love for Linda and his love for John?

Paul likes people who are good at getting what they want. John had that in spades, Linda lied her way into being a photographer, even Heather Mills was good at that since she had to bounce back from losing her leg. That is probably one of the big things Linda and John had in common, they wanted to live their lives on their own terms. Paul is someone who would have lived his life completely on rails until he found John so that's a quality he would admire immensely.

I think Linda, John and Heather also did something that no one else in Paul's life was willing to do: they validated his anger. John said "your father is fucking awful let's get the fuck out of here." Linda said "your bandmates are fucking awful let's get the fuck out of here."

When it comes to Heather, there's a few articles from that era talking about how Paul is visibly angrier than usual and it brings to mind this quote from Brian:

Paul is endowed with an immense talent, he hides a great inner tenderness and a formidable sensitivity under angry outside. In my opinion, it is the one that most appeals to strangers, autograph hunters, fans and even other artists. He has a beautiful smile and a formidable enthusiasm that he uses, not to be laughed at, but because he knows that these are assets that can make people around him happy.

...Therefore, I do not take into account his mood swings and hold him in high esteem. I would not want to lose his friendship under any circumstances.” - Brian Epstein, A Cellarful of Noise, 1964.

It's interesting that Brian saw an angry outside to Paul when we would not call Paul angry. But Brian saw more than most and saw Paul's rough side and tl;dr I think that's what Brian is referencing here. I think that Heather Mills saw that in Paul and said "stop acting like you're not an angry person, why are you repressing this?"

Linda had a saying for Paul as well: "it's allowed." She didn't judge him for having feelings. When Paul was starting out with John, John didn't judge him for having feelings either.

I think the difference between Paul's love for Linda and his love for John is that Paul trusted Linda more. John was someone that Paul loved deeply but by the time Linda came along, Paul could only safely love John from a distance. The LSD hysteria, the heroine, the Yoko shit, it was all too much and Paul couldn't keep standing next to the blast furnace. Who fucking would? It's not fair but the addict's lot in life is to drive away everyone who loves them until they are alone.

Linda was someone more worldly and she already survived a failed marriage. John at that point was prone to severe mood swings and hysterical outbursts; Linda notably was not. When you're in Paul's situation and you see a sane person who isn't calling himself Jesus Christ reborn and who isn't trying to foist some weird avante garde artist on you? You cling to that lifeboat. Linda wasn't going to stab Paul in the back for money, she wasn't going to call Paul's lawyer racial slurs, she didn't bitch and whine that everyone was an evil racist that was trying to stop her from being with her twoo wuv. Linda in many ways was very similar to pre-drug addiction John Lennon: she knew what she wanted and she went after it.

Paul was able to love her up close because he trusted her more and because she demonstrated that he could trust her. Paul did love John but it was something he did at a distance which frankly was the only thing he could possibly do. John was a black hole of vanity and selfishness that was dragging everyone down with him which is why George got out while he could and Ringo made sure to live far away.

Part of John and Paul coming back together would have included John getting sober and proving that he could stay sober, that he was committed to sobriety for sobriety's sake, and that he wasn't going to go off the rails trying to sabotage Paul's career while Paul was trying to provide for his children. Otherwise Paul should have and would have kept a distance and refused to commit to anything interesting. I think Paul learned his lesson when he showed up to the Dakota and John turned him away saying "you can't just show up like its Liverpool in the 1950s."

That's another key difference between Paul loving Linda and loving John. Linda actually wanted Paul around, John didn't. Paul loved Linda actively and loved John passively.

[lostyesterday]

One of my favorite types of relationships in Star Trek are close friendships between characters who are in certain ways exact opposites but who nonetheless get along really well and have found strong common ground on which to base their relationship. Some examples:

Data and Deanna: Opposite relationships to emotion and opposite methods of attempting to understand/connect with other people. Deanna literally senses other people’s emotions and is about as intimately connected with emotion as a person can be, while Data believes he has no emotions and has difficulty understanding the emotional states of others. Despite this, they get along really well and greatly respect each other’s perspective. Part of the reason is potentially because both characters have a strong drive to reach out to and connect with other people, even if their starting points for this goal and their methods of attempting to accomplish it are very different.

Kira and Jadzia: Opposite in a lot of ways, but particularly in terms of their relationships to religion and other elements of their respective cultures. Religion and other aspects of Bajoran culture are deeply central to Kira’s identity and understanding of the world, whereas Jadzia couldn’t care less about religion and has an ambivalent relationship with her own culture. Sometimes, she rebels against it or seems to turn away from it in favor of seeking connections with other cultures (such as Klingon or Ferengi culture). They also have opposite personalities in many ways – such as their opposite approaches to leisure with Kira unable to relate to Jadzia’s ways of enjoying herself. Yet despite these major differences in ideology and approach to life, the two of them spend a lot of time together and are close friends. Maybe this is partially because one thing they do both have in common is a sort of open-mindedness about difference – an acceptance of a difference of perspective as it is without truly resolving it. (Up to a point, of course, especially in Kira’s case, but I do think that the fact that both of them have several close friendships with characters with whom they disagree on a large number of topics indicates that they share this open-mindedness).

Jake and Nog: Opposite life trajectories. They come from very different cultures and are introduced to the audience in opposite ways (as a well-behaved child vs. a petty criminal), but the strength of their connection is immediate and enduring despite all the barriers put between them. What makes the contrast between them extra interesting is how Nog is the one to become a Starfleet officer, and how the contrast between their personalities in later seasons (Nog being rigid and organized while Jake is more relaxed and disorganized) is very much not what you’d expect when you first meet their characters in season 1.

Harry and B’Elanna: Opposite relationships to/histories with Starfleet. Harry is the golden boy – the young prodigy with a bright future who represents the very best of Starfleet and can (supposedly) do no wrong. B’Elanna seemingly failed Starfleet and was failed by Starfleet in every sense. She couldn’t make it through the Academy because she felt like she couldn’t belong there – because she was made to feel that way throughout her life. And yet it’s within Starfleet (at least the make-shift Starfleet on Voyager) that the two of them connect and become friends. And maybe in some ways that’s because you don’t need to go far below the surface to see cracks in Harry’s supposed Starfleet perfection, and also because it takes only the promise of belief and support from a few (including Harry) for B’Elanna to reforge her connection with Starfleet.

Mariner and Boimler: Opposite personalities in basically every way (at least initially). Mariner is bold, rebellious, and reckless while Boimler is a cautious obsessive rule-follower. They approach basically every situation in opposite ways, and yet they are inseparable best friends. It’s interesting to see them both become a little more like each other over time, and maybe that trajectory is partly why they’re so close.

Interestingly, in some of these cases, what initially seems to be a great difference between two characters actually becomes a source of common ground between them – a contrast becomes a parallel. I find this kind of connection between characters who might in theory be opposed to each other very compelling. In a way, characters being best friends despite being really different gets to the heart of what Star Trek, at its best, is about.

[1296-very-good-year]

What I absolutely adore about Arcane in season 1 was its dedication to treating magic realistically. Science is the study of the natural world after all, and in Arcane's world, magic IS natural. Scientists would be the ones pursuing it.

Hextech was always going be invented, if not by Jayce and Viktor, then by somebody else down the line. By trying to stop them, Heimerdinger was only delaying the inevitable.

We get to see exactly how "science" can go wrong, both with Jayce succumbing to political manipulation to build weapons on behalf of the ruling class, and with Viktor throwing caution to the wind in his desperation to save himself. BOTH of them fuck around and find out. Dead child and dead Sky. (Singed is also used to explore a lack of ethics).

BUT Heimerdinger is not proven right. His position of trying to stop their research for the harm it could cause was wrong, because all scientific/technological progress can lead to harm. Harnessing fire allowed us to cook food and boil water to kill germs, dramatically improving and saving lives. It also lets us burn down cities, but that is no reason to avoid using fire altogether.

Season 1 does end with a Hextech-powered bomb going off in Viktor and Jayce's face, but it is clear that the corruption of the council and the systemic injustice the rich profited from is what created Silco, Jinx, and ultimately that bomb. Happy people don't burn down cities.

The council had control of all Hextech development from the beginning. They demanded the creation of the Hexgates - which did nothing to help the people of Zaun - and Piltover flourished. Zaun only got worse in those 6 years. All Viktor and Jayce wanted to do was give magic to everyone, but Heimerdinger made them delay it, and so their work was only used to serve the wealthy. They were never allowed the freedom to give magic to the common people.

Heimerdinger's stagnation as leader on the council for decades was infinitely more responsible for that bomb than Viktor and Jayce.

End of Season 1. Brilliant. Showstopping. Spectacular. Etc.

How does season 2 expand on this? Spoiler alert....

NOT WELL

We are introduced to the concept of the Arcane itself reacting negatively to use of Hextech. The anomaly appears that begins to poison life that comes in contact with it. Here is our metaphor for environmental destruction/pollution by industry. Interesting, let's see where that metaphor leads! (The answer is it leads nowhere).

While Heimerdinger was never shown grappling with the results of the terrorist attack that killed people he was presumably close to, he did FINALLY change enough to help Ekko create an anomaly to get home. He also worked directly to improve the lives of people in Zaun in the 3 years he was in that alternate timeline. Good stuff!

AND THEN

We are told that in all timelines Viktor goes crazy and tries to assimilate everyone into a single emotionless hivemind. Inevitably. Except, the alternate timeline where Ekko and Heimerdinger go is one without Hextech at all, where Jayce likely killed himself, and Viktor would have died from his disease. So, either there is an evil Viktor running around offscreen in that timeline, or he only ends the world if Hextech is invented.

If we make the more obvious assumption that Viktor only goes crazy in all timelines where Hextech is invented, then the through line here is that apparently Hextech should never have been pursued in the first place, and Viktor should have just let himself die.

"Hextech is a curse," Jayce says, and this is not once challenged by the narrative.

"I used to want to give magic to the world, now all I want is my partner back." .....what the fuck...

Jayce and Viktor's arcs are complete when they decide to kill themselves TOGETHER this time, along with destroying the Hexgates, the anomaly, and Ekko's Z drive, symbolically removing Hextech from the world to save the day. This is - in the writers words - the end of their story.

Season 2 says Viktor and Jayce should never have stopped each other from jumping to their deaths. Hextech was bad all along, actually.

Mel's magic is natural and wonderful because she was born with it.

And Singed apparently didn't try to use magic for his unethical science, so he gets his happy ending :)

[digi-lov]

Digimon Liberator Novel

[read on the official website] DEBUG.1-1 [Yuuki] - DEBUG.1-2 [HEAVY METAL PLAY] - DEBUG.2-1 [Winr] - DEBUG.2-2 [GOOD GAME]

First spoiler free, then more detailed including spoilers under cut

So the first 2 chapters of the Digimon liberator novel dropped last week! We don't exactly know how frequent it'll update, but most likely not as regular as the comic. First impressions on the main characters, I really like them. I think they are fun and interesting enough to drive the story. They don't feel like exact copies of previous characters, and make me exited for a fresh adventure!

As far as I could tell, the translation seems fairly good, but there was a mistranslation of a card effect. However the translation of TCG card effects can be a bit tricky, and the translators might not have known the official english wording. They also show the respective card right there, so it's easy to see what the effect should be, but it might be confusing to people who weren't already familiar with the cards.

Nevertheless I'm optimistic and looking forward to read more!

So now for a bit more detail

First off, I think they way they incorporate the player's tamer cards is really smart. A player get's their own blank tamer card, and can obtain various effects to add to it within the game, to customize their own tamer card to their play style. Nice! This way it doesn't feel like a weird 4th wall break for Yuuki to have a Yuuki Tamer card for example.

I really like Yuuki , immediately! She's fun, and she definitely has flaws and quirks to work on that'll make her interesting to watch grow. Her relationship with Impmon is nice too. Impmon is not exactly a serious character, but does want Yuuki to be a bit more serious, and recognize the weight of the situation. To an extend, Impmon wants Yuuki to take their partnership more serious in turn, I'd say. The way they talk to each other feels very familiar. You can tell they're close, not holding back complaining about the other. They bicker, but they also quickly drop the fight when needing to figure something out together.

Yuuki's Impmon, as most already know, get's a new evolution line: Punkmon, Loudmon, and HeavyMetaldramon. I love them! I like how it gives Yuuki and her Impmon more of an individual identity, than if they used a previously common Impmon line. The detail about Yuuki being a dancer, and vibing with the cool metal dragon is sweet too!

Also, I wonder if that Altea character is this girl from the poster? It's interesting that Impmon is not a fan of her...

Winr and FunBeemon's introduction was great too. Winr seems like a proud kid, without being feeling too stuck up. The story taking place after he's already known Yuuki for a year, really helps with his walls having started to come down already. I'm curious if his parents will be related to the in universe Digimon Franchise or Game Company in a way, or it they're just generic absent rich parents. Which, I don't think would take away from Winr's character if they are. I feel for him to want to escape from his home life into a virtual world. I love his relationship with FunBeemon. FunBeemon is very attentive to Winr's feelings, and cares a lot about him. And Winr doesn't get annoyed by it, but appreciates it, even though he doesn't quite know how to express it. The new evolutions for FunBeemon are also cool! I've like FunBeemon for a partner Digimon for a while, and I'm excited to see it finally happen!

I'm curious about Winr's real name too, assuming Winr is his username. Winr is a play on "winner", with his Japanese name サイキヨ Saikiyo being a play on 最強 (さいきょう) saikyou meaning "the best" or "the strongest". FunBeemon's nickname "Winnie" is キヨちゃん kiyo-chan in Japanese.

For anyone who's interested: Japanese first person pronouns

Yuuki uses the japanese first person pronoun あたし atashi, which is quite feminine, but as being too over the top girly is sometimes seen as disruptive, atashi also has a do-as-I-please kinda vibe sometimes. For example, it's used by Yuffie from FFVII. The even more cute-girly atai in turn is often used in media by very strong-willed, rough women, such as Plumeria fom Pokémon Sun&Moon, or the Gerudo women from the Legend of Zelda games. It can also be played straight as super cute too thoug, like with Vivian from Paper Mario TTYD.

Impmon uses オレ ore, which is a strong, proud, often masculine pronoun. In formal situations it would be considered rude, but it's normal for guys to use in a casual setting. Very rarely it is also used by super tough women in media, such as Kumatora from Mother 3, or Big Mom from One Piece. Eiichiro Oda mentioned himself knowing women who use ore, but this is quite uncommon and likely a modern developement. You go girls! Impmon also uses it in katakana, which gives it a bit more emphasis.

Winr uses 僕 boku, which is quite common for young boys, or more soft spoken men in casual settings. In media it is also occasionally used by girl characters that have a "tomboy" vibe, but also sometimes by female singers in their songs.

FunBeemon uses 私 watashi, which is technically a polite neutral pronoun, but using it in a casual setting has a feminine connotation.

PS: Sorry this took so long, I'm still very sick, and writing coherent sentences with okay spelling is diffcult.

[bwoahtastic]

You had this idea a while ago about animal Omegas kept as pets, and I can't stop thinking about it :3

Apologies for the rambles and feel free to ignore if you aren't interested in this anymore 🫣🫣

Dan adopting a pretty kitty Omega, Max is so purry with Dan and always wants lap time but does NOT like strangers! Max also likes to read books and rambles at Dan about his new obsession! Also Max likes kisses. A lot. More kisses please!

Jenson or Toto (or Lewis) taking in Nico? Nico maybe having had a bad owner or was trafficked and his feathers are so dull and broken. But when he learns to trust the new Alpha and learns that he can be free, he blossoms and becomes so beautiful!

I also like the idea of Alpha Max taking in 2 cat omegas, Lando and Oscar. Lando is very playful and likes Max almost immediately, but Oscar is more shy and only dares to cuddle Max when he thinks Max is asleep and purrs a lot then. Oscar and Lando had to he taken in together though because they are so close!

Twinky tiger Seb being adopted by someone because he looks so sweet and well behaved but then he turns out to be an absolute terror!!

Ngg yes! Still like this idea!!

Dan taking in a pretty tabby cat Omega from the shelter! Maybe it's common for F1 drivers to have an Omega pet because it's a status thing (snd they have the means to properly take care of them and spoil them and show them the world!) Max is so sweet and purry, very clingy with Dan after deciding Dan will be his owner! Will follow Dan around the apartment holding his fav blankie in case Dan sits down, because Max will be on his lap in an instant, purring and wanting kisses while telling Dan about what he read! He doesn't like strangers much tho and hides a lot behind Dan in the paddock, tail puffed up and ears flat! And he will hiss at anyone but Dan trying to touch him!

Oh pls! Merc pushing for Toto to take on an Omega too and he decides to rescue one, at least that way he can help someone! Nico having been freed from a trafficking ring and looks a little worse for wear,maybe he lost basically all his feathers so it's hard to see what his animal even is. But he is also very sharp witted and Toto decides he will do perfectly! Nico being in awe of his private rooms and the fact that Toto will get him everything he wants (and even let him outside alone with his own credit card once Nico is confident). Some people making fun of Toto taking in a "damaged" Omega, but Toto adores Nico and doesn't care (but ofc is smug when Nico's feathers and confidence grow back and he's such a beauty!

Oh pls Max loving cats so he is set on a cat Omega, and really 1 is enough work and responsibility already but there is this cute bonded pair and Max can't bear the idea of them being forced apart! Lando is very curious and takes a liking to Max quickly, interested by Max's deeper Alpha scent and liking it when Max scratches behind his ears. He babbles a lot about random things and loves movies and music! Oscar is more shy, keeping to himself a lot at first,unless lando drags him over, and taking longer to trust Max. But once you have his trust, he is so funny and affectionate! Oscar at first only daring to cuddle up to Max when he thinks Max is asleep, but eventually Max will go to bed and find both his Omegas already curled up there waiting for him!

Oh please the chaos of twinky tiger Seb!! He looks so sweet and innocent when Mark goes to pick out an Omega, purring and staring up eith those big blue eyes while hugging his stripey tail! Just so adorable and affectionate so ofcourse Mark falls for it! Turns out Seb is quite the menace ksks, cheeky and fussy and liking to challenge Mark lol! Always aorunf causing chaos and having hissy fits when Mark tries to tell him no! But also is fiercely fond of Mark in his own way and has attacked someone making fun on Mark lol! Also Seb would have an insatiable sex drive and make it Mark's problem kskdk

[tgmsunmontue]

Get your motor runnin' - 6/6

Bradley, a bit of a (very talented) grease monkey and Jake, who has been sent to see him because he's apparently the best mechanic Maverick knows.

A longer fleshed out fic at the request of @poetryandpickles based on their idea in this post.

ONE TWO THREE FOUR FIVE

PART SIX

                He has no idea what he’s going to say to Bradshaw when he gets there, assuming Bradshaw is even home and not somewhere else. Fortunately he has a two-hour drive to fucking think about what he’s going to say. Apologize obviously. Why though? Because he cares what some guy he’s met twice thinks about him? Or because he cares about what Maverick thinks of him? Or Admiral Simpson? Or because Admiral Simpson sort of ordered-slash-suggested he do so?

                Fuck.

                He guesses he needs to start at the beginning and maybe apologize for just… leaving in the middle of the night. That was sort of a dick move. And then he accused him of being a cheater. Bradshaw’s look of confusion makes a lot more sense now, but there is no way that Jake is getting out of this without looking like a douche bag and an idiot all rolled into one package. He just has to hope that Bradshaw still likes the package…

                Oh.

                Oh shit.

                The realization that he was disappointed when he thought Bradshaw was married hits him. His anger had overridden it in the moment, it’s only now that he’s thinking about it that he has time to unpick it. He wasn’t ever actively planning on seeing Bradshaw again, and now he’s driving to see him and hopefully hold a conversation with him. Assuming he doesn’t deck Jake. Admiral Simpson had implied he had a temper and he’s also Maverick’s… kid? It’s a lot to process.

                Coupled with the fact that he’s maybe not just leaving Bradshaw as a one-night stand. That the fact that he was disappointed means he’s maybe interested in something more. Which sucks, because he doubts Bradshaw will be interested, not with Jake sneaking out after their night together, and then his behavior this morning… It’s why he doesn’t usually try and pursue anything. Easier and he doesn’t get rejected.

                Or worse.

                Hurt.

…            …            …

                Sometimes his ear for engines is more of a curse than a blessing; he can tell what’s in the sky, and he can recognize car engines from a block away, sometimes further if it’s a distinctive engine or very noisy. So he has a little forewarning that Jake’s car is pulling into his lot. He’s only been home a quarter of an hour, so Jake must have left immediately after him and he wonders what he wants. His annoyance has faded during the drive, leaving behind a healthy dose of confusion.

                Only one way to find out he supposes and he pushes himself to his feet and heads out to the yard, closing the door behind him. Sure enough Jake is there, getting out of his shitty car which Bradley wouldn’t buy for spare parts. He’s still one of the most attractive men Bradley’s ever seen this close. He hadn’t expected to see him again, not with how he snuck out; but he at least knew there might be a slim chance of them crossing paths one day in the future with them having Maverick in common. Clearly from the surprise on Jake’s face earlier he hadn’t made the same connection, or even known about it.

                “Jake.”

                “Hi.”

                “What do you want?” Bradley asks, because there’s no point in dragging it out or playing at niceties given their earlier interaction. Jake is leaning on his car, arms braced on the roof, and he’s wearing exactly the same thing Bradley saw him in earlier. Casual jeans and a button-down, not as dressed-down as he had been the first time Bradley saw him, but obviously Mav still earns the button-down shirt level of dressiness.

                “I want to apologize.”

                Bradley blinks, frowns and then crosses his arms and presses his lips together, because yeah, he thinks he deserves an apology but he’d like to know why Jake thinks he needs to apologize; there’s only one thing he can think of and he has to admit he’s curious as to what the hell Jake was thinking to accuse him of cheating. Part of him wants to be petty and say he doesn’t want to hear it, but a much bigger part is curious.

                “Yeah. Okay. Let’s hear it.”

                “Uh. I’m sorry.”

                “Wow. Eloquent.”

                “Fuck off. I’m going to come out of this looking like the biggest idiot. Bare with me…”

                Oh. Well then. That sounds a lot more promising. He puts his aviators on, then shoves his hands in his pockets, steps forward toward the car so it’s between them. He doesn’t lean on it though, he has standards.

                “I’m listening.”

                Jake looks pained, scrubs at his face, squints at the sun and then turns to him.

                “I thought you and Maverick were married.”

…            …            …           

                The look on Bradshaw’s face shifts so rapidly between shock and confusion through disgust to incredulity Jake struggles to keep up, wonders what he’s thinking.

                “Yeah. You’re an idiot.”

                Jake shrugs and pulls a face, because he really does feel like as ass right now.

                “I still haven’t heard an apology.”

                “Shit. Sorry. I mean… I’m sorry I accused you of cheating on Maverick,” Jake starts, has to stop the little hysterical curl of laughter he’s holding onto firmly in his gut. “I assumed wrongly, and I’m sorry. Honestly. I’d say it won’t happen again, but, uh…” he trails off, not sure what to say next.

                “You make a habit of being an idiot huh?”

                “Not usually, but I’m two for two. Got to apologize for the first time too. Sorry I snuck out in the middle of the night like that.”

                Bradshaw shakes his head, shoulders shrugging and Jake tries not to remember how they felt under his hands.

                “No apology needed for that. We didn’t make any promises. I’ll admit to being a little disappointed about there not being a round three but…” he shrugs again and his lips are twitching with what Jake really hopes is amusement.

                “Disappointed huh?”

                “Maybe.”

                “Well, I was disappointed when I thought you were married.”

                Fuck. He hadn’t meant to say that. Both Bradshaw’s eyebrows are up now, eyes wide, but his lips aren’t twitching, they’re spread in a teasing grin and Jake totally expects to get the piss taken out of him.

                “Married. Which you thought for maybe ten minutes. How would that make you disappointed?”

                Jake licks his lips, doesn’t miss the fact that Bradshaw’s eyes follow the movement.

                “Maybe I wanted it to be me you were married to.”

                “Marriage huh? Wow. That’s moving fast.”

                “Fuck off. I fly fighter jets. I live fast.”

                “Yeah, and if I want to take things slow?”

                “I’ll go whatever speed you want me too,” Jake says, and he hopes the fact that he’s actually serious bleeds through this teasing flirty banter.

                “Hmm. And Mav being my father figure isn’t a deal breaker?”

                “Definitely not,” Jake scoffs. “Is me being an idiot a deal breaker?”

                “Lucky for you I kind of find it hot…”

                “What about the fact that I’m deployed months at a time?”

                “Oh, I’m sure you’ll make it up to me when you’re on leave…”

                “Be a pleasure to try… Let me take you to lunch?”

                “Yeah. But not in your car.”

EPILOGUE

                “You like that princess?” Bradley asks, mouth close to Jake’s ear as he rolls his hips, his cock sliding in and out of Jake’s ass, his body, slick with sweat, pressed into the mattress by Bradley’s body above him, holding him and Jake can’t form words, just moans and trusts that Bradley will take care of him. He always does, taking particularly special care when Jake first gets back from being deployed; like Bradley needs hours to reacquaint himself with Jake’s body. Jake is definitely not complaining.

                They hadn’t exactly moved slowly, but neither are they married. Jake had let Bradley sell his car and buy him a new one while he was deployed last, and when Bradley had slid out of the bright blue Bronco and walked toward him Jake’s mouth had gone dry, remembering the first time seeing his legs underneath a vehicle of some sort, but that they’d just seemed endless. He still can’t believe he gets to call Bradley Bradshaw his, even if the name is something that will make him side-eye his parents even if they are in graves.

                “Jake baby… you with me sweetheart?”

                “Yeah. Yeah,” Jake manages to gasp out. “I’m with you.”

[rwbyrg]

hi! noticed the ask by the anon about the reactions to rosegarden and i can't help but wonder...

do you think any of them would have some reservations because of the oz in oscar's head thing? i reckon there may be some slight lingering intensity for each member regarding him so there's a chance they could be wary... but more so for ruby and oscar, rather than exclusively ruby

I answered the last ask on the assumption that them becoming canon wouldn't happen until after the war is won and the Oz curse is broken. Simply because I don't think either of them have the time or capacity to tackle that sort of relationship before the main plot is resolved. So in the hypothetical situation that they would get together and it's before the curse is broken, I think there's a chance some of the people around them might be a bit wary. At least Qrow, Tai, and maybe Yang. However, with it being so close to the final fight, it would probably be the least of anyone's concerns at that time. "Seeing as the world might end in three weeks, so long as those two are happy for whatever time we have left, I don't really care if Oz is around for it or not", if you know what I mean?

That being said, I think I am too biased to answer this in a yes-and kind of way. I know you're probably asking in good faith, but in full transparency, I'm pretty jaded by how often this particular topic gets brought up. Since this is not the first time and probably won't be the last, I'm going to take this as an opportunity to share my stance on this idea as a whole.

Ozpin's place within Oscar and RG's stories is one of conflict; which is what all stories revolve around. And it is not, nor has it ever been, a deal breaker for RG's relationship to me. The Ozcarnation curse is an allegory for a few things. The first is simply growing up. RWBY is a coming of age story, and Oscar isn't the only one going through that arc. But this conflict and grief of how he doesn't get to choose the kind of person he wants to be - largely because of the people he's met and things he's experienced - is not unique to him. The curse is just a fantasized and exaggerated version of it.

The next one isn't so much an allegory as it is plainly stated in the text, but it's a story about choice. It's about how even when we are irreversibly changed by things outside our control, we can still choose who we want to be. Even when it's hard, even when the influences are strong, even when it's downright traumatic. Oscar's story is about self discovery and self acceptance; about choice and change. Regardless of if Oz fades into the background, or his curse is broken, or they become a blendy merge of the two of them, Oscar is still going to remain his own person in some way by the end of it. Because this is ultimately a happy story and that is the main driving conflict of his personal arc.

The assumption that Oscar is going to get absorbed or overwritten by Ozpin being such a common take in this fandom never ceases to confuse me because of that. It also confuses me because the show - while it doesn't fully explain the extent of the merge mechanics - has told us that Oz has had families in his previous lives by "learning to live with the souls with which he had been paired".

The other allegory I'll mention - of which I am not the first, nor necessarily the best, to be pointing out (here is a great example from a little while ago) - is one for plurality. Some of the friends I've made in RG spaces have DID and have spoken to me about how they interpret the Ozcar situation; how it's similar or different to their own experiences. Hearing those stories, once again, makes it really hard for me to see Ozpin as any sort of deal-breaking barrier to a rosegarden relationship. This idea that Oscar must be isolated from his friends and constantly scrutinized when showing interest towards any romantic partners because of Oz's presence lacks both imagination and compassion for me. Oscar never asked for this curse, he didn't do anything to deserve it, and to condemn him to a lonely life because of something like that seems really antithetical to the themes of this story and to the characters involved. While some characters within the story might have some doubts about the relationship, at the end of the day it is not up to them on what Ruby and Oscar decide to do for themselves.

Again, this isn't aimed at you, Anon. I just wanted to say my piece on it given how pervasive this topic is. I truly look forward to the day where folks can talk about RG without this being the first thought or argument that everyone jumps to.

[bellowsmith]

Tarn and Starscream fic idea that won't leave me alone

Something about the two of them works so perfectly both to make each other better and also so toxically codependent in the most amazing and terrible way just won't leave me alone. Like, Starscream is everything Tarn isn't and Megatron won't let him forget that, yet from Starscream's POV Tarn has everything he's always wanted, fear and respect. Like, Starscream went to a military academy, is a strategist, and is probably one of the few members of high command like, actually fucking QUALIFIED to be there. But he's a seeker from Vos who had access to money, and not only that he's Megatron's arm candy, which destroys any legitimacy he has.

I know their relationship in canon is vastly different than my own headcanon version but...I dunno I find the idea of Starscream genuinely just wanting to actually help society both for his own selfish needs and out of this like, deep desire to be seen as someone worth a damn so compelling. And yet he can't be his own person because the shadow of being "Megatron's whore" overtakes everything he does. So he's probably looking at Tarn, this hulking force of death and destruction who also is actively known for fucking Megatron but...he gets to keep his aura of fear. Even if everyone hates him, they don't fuck with that guy. And I think Starscream would envy the fuck out of him despite hating him.

On the other hand, Tarn is not even remotely from a military background. He knows how to do taxes, break things with his outlier ability, and follow orders. That's it. Canonically he is bad at combat and prefers to let his team do it, after all, he wasn't forged as a tank. Starscream is everything he has ever wanted to be, refined, high class, and most importantly, he has Megatron's attention. Even when he fucks up he's still being noticed in a way that Tarn never can be because Megatron sees him as a tool to be used and not as a person. And yet, Tarn can't help but be loyal to the mech he idolizes as literal god because he owes everything he is to him, his body, his face, his position. So he pretends to be this persona Megatron wants, but he hates every single second of it.

And I think the two of them could be really interesting if they ever like, came together as friends in some way because they have a lot in common. And they could fill the roles the other desperately craves, Tarn as the one person who sees Starscream as powerful and worthy, and Starscream as the one person who values the loyalty and submission that Tarn puts into everything he does. Hell, if they got close enough they could probably overthrow Megatron and reinstate the original Decepticon cause back in its place together. Starscream's own self-preservation would drive him to look into a mutually beneficial peace treaty that likely would have ended the war faster and with better terms for the remaining Decepticons. As long as his goals align with what's best for the rest of Cybertron, he isn't actually that bad of a leader all things considered. Idk I just think they should kiss and be toxic together about it

[shini--chan]

Can I have some duos sharing a darling?

Such as Germany and Hungary

Ukraine and Prussia

Poland and Belarus?

Sure you can. You did pick out some interesting duos there, so lets get started. 

Yandere Hetalia - Cohabitation

Trigger warnings: abuse, other yandere themes

Germany & Hungary

Being around Ludwig would bring Erseverta's maternal and matronal sides out, which would be both a good and a bad thing. While she would be less inclined to harm you, whether for fun or for punishment. Therefore, she would dote on you more and more inclined to treat you like a child. You'd have to finish all your meals and stick to a fixed bedtime. There would even be cases where she'd give you homework, maybe because it would be her way of punishing you, maybe because she'd want to keep you busy and fill the gaps in your knowledge. 

Generally, she'd work best when she'd have somebody to play off of. Depending on which person it would be would largely influence which side of her she'd show. Ludwig's constant presence would make her more confrontational towards other people, and more controlling when it'd come to you. Deep down, she would be scared that Germany might sweep you off your feet and cut her out. After all, she'd know very well just how crafty he can be. 

Germany would be more serious if he'd have to share a with another yandere. Part of this would be that he'd only behave like a responsible adult around other nations and important people. Also, Erseverta's penchant to just steamroll over people that wouldn't be able to draw boundaries and stick to them would make him sterner and more closed off. Post-1945, he would still carry all that suffocating guilt and cautiousness, yet he would do his best to disguise it around her. Additionally, he'd be well aware that his conspirator would know a great many of his crimes and sins and keep an eye on him because of it. Or tease him. 

As such, he'd be more on edge, and more likely to unleash his frustrations on you. Erseverta would never be a simple woman to deal with, at least not for him. He'd be very worried for you, alternating between making you the subject of his pent-up feelings and trying to make up for his misdemeanors. Ludwig would rely heavily on you when dealing with Hungary, since he'd have trouble reading the finer social cues she'd display. Thus, you'd have power over him. Deal with this power as you wish. 

Working together would often come to your detriment. No matter the era, no matter the guilt and the awkwardness he'd be prone to, Ludwig would be no push-over and neither would Erseverta be. They'd be on the same page more often than not, and barring communication issues, it would be rather difficult to drive a hard wedge between them. Of course they would have their differences, and frequent spats would be the norm. Still, both would dote and curtail you, both would be inclined to treat you as lesser than them, as something innocent that would need to be protected from the big bad world. 

Prussia & Ukraine

Gilbert would take to keeping a close eye on Katernya, because in his mind, she would've spent too much time with Poland and Austria to behave properly. As time would pass, these fears would gradually abate, especially once the two of them would find some common ground. It wouldn't stop from a permanent tension forming, where he'd constantly regard her actions and words with a grain of salt. 

From his point of view, Kateryna would have only gotten so far by the virtue of her good looks and charms. While she would be able to work hard, Prussia would point out that she wouldn't know how to manage her resources and power well enough to achieve anything. At least, that would be what he would tell you. Part of this would be because he would dislike sharing you, especially somebody that would pamper or mother-hen you. Or somebody that would live off of his hard work. 

He'd impose a strict division of labour here, and he'd be just as stern to Ukraine as he'd be to you. Of course, you'd be his favourite and he'd spend far more time with you. Due to you having the majority of his attention, you'd likely witness his softer moments and receive some tender affection. 

On the other side would be Katernya, who'd dote on you and pamper you. It would go more in the grandmotherly direction, like that she'd chide you for being thin and needing to eat more and dressing too lightly. Don't be mistaken into think she'd let you kick your feet up and be idle. No, she'd put you to work as well. If anything, you could very well end up doing most of the work around the farm/house. You see, as much as she'd want to coddle somebody, she'd also desire somebody to take care of her. Thus, you'd be stuck with taking care of her, whether you'd like it or not. Gilbert would find it hilarious. 

On top of that, she would only tolerate you caring for her if she'd be in control. This would mean interrogations at the end of the day, lots of micromanaging and perhaps a shock collar or a chalice, all depending on the time period. Should you be particularly disagreeable, then she'd lay you over her knee and cane you. 

For such a dynamic to work, both would have to compromise and it wouldn't be easy. The two of them would constantly get into arguments (especially about you) that could turn very ugly because neither would shy away from resorting to low blows. 

Belarus & Poland

Being around Feliks would bring out the worst in Natalya. She'd be even more clingy and gross than before, so much so that she'd live under your skin if she could. Partially, she'd deem Feliks as not being tender enough to give you the care you'd deserve. Or being dedicated enough to treasure your true beauty. Really, the way she'd talk about you and treat you, you'd get nightmares of her sewing the two of you together. 

However, she'd also act like a grumpy cat from time to time, and need some space of her own. In that case, you'd be allowed to be as far away as the other side of the room. Not to mention that she'd also be bad at expressing her emotions normally and healthily. While a measure of stoicism would be something she'd share with Poland and the other Slavs, in her case it would enter the territory of emotional constipation. You'd be victim of the occasional emotional outburst normally, but with Feliks there, there would be somebody to take the brunt of the storm

Feliks would do okayish with sharing you. As long as you're his and as long as the other person doesn't have full control over you. At the end of the day, you should be his. You should be there to support and admire, to clap your hands at his glory. Poland would end up dragging you everywhere with him and have you laugh as he'd troll your family and friends. You wouldn't need them anymore, since you'd have him. 

Natalya would be tolerated, especially since he'd regard her with enough fear and respect that he wouldn't resort to his usual ridiculing. Nevertheless, there would be times when he'd snipe at her and wouldn't be surprised when she'd return the gesture. It wouldn't stop the casual remarks about how smothering she'd be towards you. If she'd go too far, he'd pry her off if you. He'd buy oversize trousers and suggest Natalyka and you each slip in a leg. Say nothing, you'd just tempt her to follow through with that suggestion. 

The worst part of this would be that this set-up would work. They'd enable each other's bad habits and toxic traits and cover the other's blindspots perfectly. With the other personification present to bounce ideas off and function as stress relief, they'd actually be better at managing you together than they would be individually. Nalaya would be an obsessive and Feliks a possessive, and thus they wouldn't really get in each other's way. So, they would be able to run amok with their wishes and desires without destroying you, or each other, because they would balance one another out.

Should you escape, Natalya would track you down and Feliks would retrive you. Her attention to detail would allow her to notice if you'd be planning an escape, he would thwart your plans. He would punish you and she would rub salt in them afterwards. When it comes to you, they'd be the dream team in the worst possible form.

[neonscandal]

What are your satosugu fav moments? And what are your fav personal headcanons about them?

Those sweet, egotistical, baby angels. 🤍🖤

For an insane retelling of their whole deal, I kinda talk incessantly about it. I also kinda did a little head canon exercise with a template before? but wasn't sure what you might be in the market for. In any case, roll the tape!

HEAD CANONS

Gojo has been spouting nonsense all his life but Geto was the first person to try to understand it, even when he couldn't. I'm not going to fault Geto for not being able to catch up on all that Digimon lore. But for the most part, he'd make it a point to ask clarifying questions or brush up on topics Gojo mentions in passing just to keep up with conversation.

In fact, they hated each other when they first met but bonded over one off the cuff comment Gojo made about a band, book or something and, suddenly, they found common ground. After that, they bonded over making Yaga and, later, Nanami's lives interesting ✨

Gojo is the prankster, Geto is the watchman/getaway driver. No one suspects Geto's role in Gojo's tomfoolery. Stealing Maki and Nobara's uniforms with Inumaki and Panda was a rewash of a stunt he pulled when he was in high school (with Geto's help). He fashions a lot of the pranks he pulls as a teacher off the hijinks he and Geto used to get away with. He wears a mirthful smile for his students but the modern times don't hold a candle to the good old days.

They were only children and both of their parents sucked. Actually, maybe Geto had a sibling who was either significantly older or younger (hence how he learned to be so considerate) who passed. Subsequently, Geto's parents were emotionally distant/neglectful starting when they got creeped out by the inexplicable things he could see that they couldn't. It's why he jumped at the chance when he was scouted for Jujutsu High, why he was triggered when he saw the twins, and why he always sought family elsewhere. Gojo's parents seemed to dote on him but didn't bother to get to know or nurture him, just placate him.

They make it a point to tease and call Ieri the little sister they've always wanted... though she is the oldest in the trio. Even so, they spoil her (to the best of Gojo's ability obviously). Example: if her feet hurt on a mission, Geto is giving her a piggyback ride but Gojo's goofy ass is trading shoes. Never mind the comical disparity in shoe sizes. They'd just be clopping around together much to Shoko's faux chagrin.

The three of them would absolutely bed rot together. It may have started with Gojo slinking into Geto's room for attention but they wouldn't leave Ieri out, even if it was a twin size bed. Just listless days between missions and classes where they would languidly ignore the weight of their responsibilities. Some days all contorting to fit on the bed, other days strewn about the room. It was always in Geto's room, Ieri almost always brought face masks (at Gojo's insistence).

Gojo, quite literally, did not understand the concept of personal space when it came to Geto (or Ieri, really). But, most specifically, with the way he'd casually and absently be all over Geto. Arms over his shoulders, tilting his head inward when addressing him, leaning on him during respites in the day, elbowing him in the side to punctuate a joke.. he just never became conscious of it. That is, until he was no longer around. Geto was always like second skin until he wasn't. In addition to the absence of his company, Gojo felt that physical absence so painfully that he used Limitless more and more to distance himself from the idea that anyone had ever been so close.

When Haibara and Nanami come along, Geto takes his role as a senpai really seriously because the stakes are high at the school. Gojo? Does not ✨ but he does force Nanami to use proper honorifics because he knows it drives him up a wall. He makes it a point to tell Haibara to call him whatever, right in front of Nanami. For the record, Haibara does not obey him but still.

Gojo has a name for all of Geto's favorite or most commonly used curses. The same way girls will refer to their crushes with silly little code names, almost. Like Geto knows that the Rainbow Dragon curse is "Rainbow Dash" or "My Little Pony" whereas other curses might have silly names like "Garfunkle" or "Steve" for no other reason than Gojo felt like it, but he's consistent. So once a name is bestowed, Geto refers to them accordingly. He, of course, never approaches them with fear and he's just as endeared to them as he is to Geto.

Before Gojo got the hang of how to optimize his cursed energy, overuse would leave him... not weak but just not agreeable. Clearly cranky and suffering the drawback, Suguru clocked the difference and that's actually when he started to pamper Gojo. It's also the only reason Gojo ever articulated the downsides of his CT to anyone. I don't know if Geto ever told Gojo the extent of his discomfort with his technique. He either felt like he was being burdensome/ungrateful in sharing or he was embarrassed about what it would say about him (re: regularly ingesting things that tasted like vomit). It's one of the only things he remained furtive about when it came to Gojo though he always wondered if Gojo already just knew.

Supported by canon, but, Suguru absolutely carried candy for Satoru (and a lighter for Shoko) because he's just that considerate. Mans was swallowing vomit rags and still concerned about appeasing Satoru's sweet tooth.

Without realizing it, this gesture inspired a Pavlovian effect and made Gojo super clingy. He associates sweetness with Geto and, in his absence, always overdoes it. Especially after he left the school for good. Nothing fills the void.

We know Gojo became a teacher because of Geto but... Geto would have been an excellent teacher.

You see it in the way they raise kids, Gojo makes sure Megumi and Tsumiki don't simply die. They have lavish accommodations but he has no idea how to parent. I love the Papa-Gojo agenda but know he was out of his depth. He was more like a "cool" but irresponsible (read: unstructured) older cousin if anything, not a father figure per se until maybe his late 20's which was a little too late. I think Geto specifically raised Nanako and Himiko like "normal" kids (ironically, humans) instead of the in the misogynistic, classist way of traditional jujutsu society because they deserved a lifetime of young revelry after everything they suffered. It cost them their lives so maybe everything Geto touched was meant to crumble.

As a fandom, I think people like to think they met up in those ten years of separation and I do too? But, realistically, I think Gojo just kept a forlorn bead on Geto and his whereabouts, too uncertain to go to him. 10 years of absence didn't change how he felt about him though.

FAVE MOMENTS

I'm sorry but every single time Geto's Japanese voice actor purrs "Satoru"? Does that count? Allow me to do a cartwheel on a bed of nails because OH MY GOSH they nailed that. You feel the teasing, the intimacy.

Gojo acting a fool on the beach with Riko in Okinawa and Geto looking on affectionately. Geto really allowed space for Gojo to be a kid and gave him some of his youth back.

Every time Geto's facade of calm relaxed or broke entirely because something was going on with Gojo. Like checking in in Okinawa, when Toji initially got the drop on him, when Toji announced he'd killed Satoru Gojo. Every time you see what writhes beneath the surface.

Geto, in a sea of despair and perhaps a sprinkle of bitterness, still thinks to ask Haibara to bring back something sweet to share with Gojo. Attentive to a fault and crazy how Gojo still manages to occupy his thoughts in that way, even then.

Every tantrum Gojo threw for Geto. Gojo was literally stabbed and didn't break character. Gutted and killed but showed nothing until he comes back an overconfident mess. But just hearing about Geto's crimes, confronting him on the streets of Shinjuku and he's shaking with rage and disbelief. Not so confident then.

Realizing that Gojo saw the day he confronted Geto as a dark and mournful day when, in actuality, it was a perfectly normal, sunshine-y day.

The moment after Geto's dramatic ass is like "I could never smile from the bottom of my heart in this world!" and Gojo says something to immediately recant that by making him smile so genuinely. Just going to do The Worm across a busy highway.

Geto defying all reason to strangle Kenjaku despite hundreds of years without a fight from a host. Just as Gojo never forgot Geto's scent, Geto's body never forgot it's inclination to protect Gojo. Even if only for a moment.

⚠️ Spoiler warning through JJK chapter 236.

Geto's face being the last face Gojo saw before he was sealed and the first face he saw upon being freed. Then agreeing to fight Sukuna on the anniversary of Geto's death because he was sentimental right until the very end.

At the close of Gojo's life, imagining an afterlife where he sees Geto and all of the people he cares about during the point when he was the happiest. After all that time, more than a decade later and he still reflects so happily back on that era despite how grisly part of it was. Not only that but, in a perfect outcome, he imagines full blown cult leader Geto congratulating him because he would take Geto in any form over not having him around at all.