#this idea makes me laugh every time

[magmary]

Sketchy sketches

[bitegore]

I made a character sheet to plot your OC's development over time! (There's supposed to be a character name in the big white space next to "over time" but it got eaten a little lmao)

You can use this for whatever you want, and you don't have to credit me. Feel free to change or edit anything you feel like. Please don't tag me if you credit me - just link to the original post.

Credits, explanations & a transparent version under the cut :D

Credits:

The actual image was made with the free NBOS character sheet creator, which is a sort of dated but free and solid text-layout sheet maker intended for ttrpg style character sheet creation.

Fonts used were Bisdak (titles) and Rockwell (body). Both are free! You can use them to fill it out if you like.

Inspired by a comment @maybe-solar-powered-calculator made on this other post about filling it out for characters at multiple points along their arcs. Thanks for putting the idea in my head :D

This is explicitly released under a CC0 1.0 deed, ie: you can do fucking whatever you want with it and I don't care and you don't have to tell anyone where you got it from and no one gets to stop you.

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Last time I made one of these I got a bunch of questions on all manner of things, and I can never keep up, so I'm just appending a set of notes for how to use it and a glossary because I know some of these phrasings will be confusing.

Ignore or change anything you don't feel like works for you here. You can do whatever you want forever.

Suggested / intended use & general notes:

This sheet could work for something story-level, if you want. But it's really only good for individual arcs; if the character goes through multiple arcs in your story, then they're going to fit poorly here. In that case, you're probably better off doing versions for each arc, or just adapting this to a different format more suited to your thing.

Also, if your arc has a nontraditional structure - divorced from the typical "rising action - climax - conclusion" type of structure where there's a clear 'important turning point' - it may not work as well either.

The mindset section is meant to come at it from a 'golden mean' standpoint - that is, everything on either extreme of the slider is 'too much' and therefore bad. It's not bad-to-good! The far right side is a flaw too. They're only grouped the way they are on basis of the specific OCs I personally had in mind when I put it together.

Growth is labeled 'worse'-to-'better' but it means, like, active decrease in that area vs active increase; if nothing changes, it should stay at the center even if it sucks. The category is about contrasting changes, and sometimes changes are for the worse!

The entire sheet is very deliberately subjective. It should really be answered from the character's perspective - how they feel about it, not what's necessarily true. Technically you can do whatever you want and I can't stop you, but it's a better tool if you approach it from the point of view that the character may believe things that aren't true - that will define their behavior way more than the objective facts of the story.

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Definitions:

This part is long as hell - recommend using ctrl+f to find the specific words you're stuck on. I defined everything.

General categories:

Mindset: how your character thinks about themself and how they act. Their understanding of their own approach to life. Attitude, viewpoint, decision-making process, that sort of thing.

Circumstances: the relationship between your character and the world around them. Where they are, what that place is like, and how they feel about it.

Growth: how the character and their impact - their attitude, their behavior, their immediate surroundings - changes over time.

Outset: the start of the character's arc.

Present: the 'center' of the arc. If you're planning something ahead of time and it hasn't 'happened' yet, then this is the near future.

End-game: where they are after the conclusion of the arc.

Mindset terms:

Center of the world: "If I have a problem, it's the only thing that matters to me." Self-centered, self-absorbed. Doesn't necessarily mean anything beyond that - they don't necessarily have to be unpleasant to be entirely focused on their own life.

my life isn't relevant: "Everyone else's problems are so significant, I don't pay any attention to my own". Someone who ignores or neglects their own life in service of some other thing, or doesn't consider their own behavior to have any real importance.

Only see enemies: Paranoid. Everyone's out to get them. Anyone who seems nonthreatening is hiding their potential for danger and everyone who seems threatening is a threat. The character must remain ever-vigilant, lest the cashier at the 7/11 suddenly stab them, or their best friend turn out to secretly be trying to poison them to death.

Only see friends: Naïve. Everyone is a good actor who wishes everyone else well, and if they don't seem like they're acting from a place of kindness or care then you probably don't understand what they're up to. The character is pretty sure the stranger holding that knife is, like, someone to chat up maybe, they're clearly only hanging out in this dark alleyway because it's a nice spot and no other possible reason.

overthink everything: Ten thousand thoughts per every single action taken. Maybe they never get around to acting at all. They have to consider every possible outcome. What if by eating lunch they accidentally trigger the apocalypse?! Who's going to think about these things if not them?!?!?!

impulsive to action: Act first, think never. What do you mean "consequences of actions"?

Unilateral decisions: "I will make every choice and no one else's opinions or thoughts are relevant". Discounts outside suggestions. Firmly convinced that they know best in any situation, and will brook no disagreement with their views when it comes to actually doing things.

Command me, please: "I don't know what to do and I don't know what to even start with, someone please tell me what to think". No confidence in their own views. Will not make any decisions unless forced and even then will beg someone else to please tell them what to do. Has no idea what's best and is pretty sure anyone else will have a better idea.

can't ask for help: No one will ever help the character; they have to do everything themself, even the things other people have repeatedly offered to do for them and have much more experience with. Doesn't necessarily mean that no one will help them or that they are explicitly barred by some real-world circumstance; just that, for whatever reason, they refuse to ask for help. This is an attitude thing - will they ever reach out? No? Then they're here.

too reliant on others: Have they ever solved a problem alone? Do they believe they're even capable of doing so? The character all the way at this end of the scale absolutely never expects to be able to do anything themself, has no trust in their ability to solve a problem, and needs someone else to come save them from it. The kind of person who needs ChatGPT to do their homework. Again - doesn't actually mean anyone will help them, or that the people they're relying on are reliable - just that they think they are helpless without ... well, help.

Weapon maker: This has to do with problem-solving strategies and not actual weapons. The weapon-maker is a character who views every situation as a conflict that cannot be de-escalated or solved by cooperation, and responds appropriately. The most fundamental weapon maker character turns everything into an argument, a fight, a war, etc. There are a bunch of other responses to conflict, though - they might avoid problems that need solving because they avoid conflict generally too. Fundamentally what you want to answer here is: when they see a locked box and they don't have the key, do they respond to it the same way they'd respond to someone telling them "you can't open this box"? And how do they respond to that? Typical weapon-maker approaches: - brute-force the box open or try and then give up if it doesn't work; and also get into an argument that might turn physical with the hypothetical person - shrug and give up immediately, in both situations so on and so forth. Another hallmark is that they kind of suck at problem-solving and give up if brute-forcing a problem doesn't work. This is not someone who is picking locks unless someone else told them to - they have one solution, it's to make everything into a conflict, and then to win that conflict by beating them or to give up because they think they'll lose.

Tool maker: This person approaches every situation like it's a puzzle, not a fight - up to and including actual fights. Tool-maker characters generally assume that a situation can be solved by just finding the right approach and doing it the clever way. There's the same fundamental question as above - if your character sees a locked box and has no key, would they approach it differently than someone telling them they're not allowed to open the box? 'Typical' tool-maker approaches: - I can trick the person into giving me the key by saying the right things, and I can also pick the lock because fundamentally there are 'right answers' to both of these - If i make friends with this person, they might change their mind, because now we're cooperating. I can still pick the lock because there are 'right answers' there. - The person has a reason for wanting me not to open the box, so I can definitely figure out what that is and solve the reason so then they'll let me open it. I can take whatever it is even if they really want to keep it if I just find the right answer. I'm going to break this box into little pieces because that's the easiest way to get into it but I could probably open it some other way if that wouldn't work.

A note - the center of this bar is someone who generally has different responses to different kinds of situations - like, in the box example, they'd approach the box and the person with two different general attitudes and processes - but generally responds to those situations using the same kind of decision-making process for each category every time. Most people are nowhere near either extreme. Characters tend to be classifiable into weapon-maker and tool-maker because they are fictional and it's easier to define one kind of approach than many. Approximately average approaches: - pick the lock if no one's around, but give up if someone is there because someone telling me not to open the box is a conflict i think i'll lose but a locked box is just a puzzle that i can solve - argue with the person, but give up on the box, because they're approaching the box as a puzzle and they don't think they have the skill to get into it, but the person is someone who can be convinced or bullied into handing over the key

I made this particular dichotomy up, which is why I think I get a lot of questions on it whenever I put it into anything, but I also don't know of any other snappy way to describe this sort of thought or approach variance, and it's genuinely useful for character writing in my opinion.

Pessimist spot-finder: Generally a downer but not necessarily. This kind of character just approaches everything with a close eye for problems, issues, reasons to find fault. If they're miserable, it might be why, but like, they can be a cheerful spot-finder if you want, I just wanted to get at "the glass is half empty" and "the glass is half full" more than anything.

Optimist upside fan: The opposite. "The glass is half full". If there are problems, they can find something about them that's not so frustrating or bad to focus on. Pretty damn good at overlooking minor issues if there's no reason to fixate on them. Not necessarily cheerful.

Abysmal company: could not give less of a damn about treating people the way they 'should' be treated. Maybe they take pride in that. Maybe they just think it's irrelevant. Either way, they know they treat people badly and they don't see any reason to stop. Does not necessarily mean that they treat people badly if they think they're doing the right thing and are wrong. Doesn't mean they're actually pleasant or unpleasant to hang out with, either, unless you really want it to mean that.

Decent to others: treats people well as a matter of course, or at least they sure think they do. Makes an effort. Would probably care and/or consider changing their behavior if someone said they were treating someone poorly. As before - they can be completely un-self-aware and just think they're doing right by people while treating them completely horribly.

Morality is irrelevant: 'abysmal company' for broader approaches to life and problems. Maybe they just know they're myopic and don't think other people's problems matter. Maybe they just gave up on trying to differentiate between 'good' and 'bad' and outsourced it to someone else or stopped paying any attention. Maybe they just like to take morally unjust actions and can't be bothered giving a damn when someone points out that they're morally unjust, or maybe they're proud of it. Kind of a villain trait generally, but not necessarily - it doesn't have to mean they act badly, just that they don't care if they do. Also, this is about how they choose their own actions and view their own behavior. They can think morality is relevant for other people as long as they ignore it when they act themself.

Always in the right: feels morally righteous in every decision they make. Standard superhero type of trait. Doesn't necessarily pass judgement on others, doesn't necessarily act well according to everyone's moral code (see: blue and orange morality), but they are extremely principled and will never deviate from the moral code they personally believe in. And they do genuinely believe in it.

Circumstances terms:

Generally terrible to generally excellent: how subjectively decent is your character's situation, overall? If they think everything is horrible, but the situation is charmed to everyone except them, then it's generally terrible.

Need for changes to passive tolerance: will they do something about it? Do they feel like they have to?

No agency in action to decisions are huge: agency being "how much power do I have to make changes here?", this just asks how much they have. No agency means that, no matter what they do, nothing will happen - they might be locked in a cage or somehow otherwise completely unable to use any sort of power at all, even the power of just leaving. The other end of the spectrum is where every decision the character makes makes a huge difference, not just to themself but to everyone around them as well. They can start wars, they can have anyone they want killed, they can do anything whenever they feel like it. If they think they have no agency even though they do actually have agency, they don't have agency here. If they feel like they have all the agency in the world and can do anything, then they do even if it's not true. It's perceptual again.

Stakes are deadly to mistakes solvable: what are the consequences of failure? Will you die, will you lose status you can't afford to lose, will you lose belongings, will you have to apologize, will nothing happen at all? Mistakes solvable is where they think every mistake is solvable forever - the character pushes someone through a woodchipper and they come out and to fix it, maybe an apology has to occur, but not much else. Does not necessarily mean no one gets hurt or killed as long as the character thinks there are no permanent consequences. This is the most important one on this section to keep subjective because it will greatly influence how your character approaches situations. A character who thinks everything is deadly-stakes may go to cartoonishly-extreme lengths to avoid turning a report in a day late. A character who thinks all mistakes are always solvable may push someone through a woodchipper and then just assume they can say they're sorry and it'll all go away. The setting and their approach do not need to be applicable.

Needs go unmet to attended with care: how do the people around them treat them? Do they pay attention when the character needs something, or do they ignore it? Does the character have to do everything themself around here, or are there people who will help out?

Regarded poorly to regarded well: how do they think other people see them? Are they respected, are they liked, or are they disliked? Do people broadly trust them or are they pretty sure everyone regards them with suspicion?

Nothing changes to changes in seconds: functionally the 'stability' meter of your setting - is the situation generally stable, or are things constantly changing? Does your character feel like every five minutes, there's a new problem that needs dealing with, or do they feel like nothing has ever happened ever?

Growth terms:

Changes in place: do they go somewhere else? Does the physical setting otherwise change (eg; earthquake, war, etc) ? Are there any other reasons that the 'vibe' or 'experience' of the place is different from before?

Change in power: does the character's percieved agency (see: no agency in action to decisions are huge) change? Alternately you can use it if they've gained or lost power in some percieved way (deposed, assigned a commanding position, etc).

Change in bonds: do their relationships with people change? Have they made new friends, lost old friends, changed the nature of their relationships with friends or partners, etc?

Change in beliefs: straightforwardly, have their beliefs, morals, etc, changed?

Change in hurts: have they undergone some horrible experience? Do they have past trauma from some pre-arc horrible experience they're healing from and/or discovering they're more powerfully subject to? Did they experience a physical injury that they're recovering from or which materially changed their life? Did something recent dredge up old issues? So on and so forth.

Change in hopes: Do their desires for the future look the way they used to? Do they care about different things now? This is something the character is not actively working for, but may be tied to actual goals.

Change in fears: are they overcoming fears? Growing past them? Gaining new ones? Are they scared of shit different from how they used to be?

Change in goals: Not the same as a hope because it needs to have a specific, achievable outcome the character is actively working toward. Do those material goals look different? Perhaps they no longer want to work against something, maybe they didn't have any goals and now they do. Or maybe they've realized the goal is impossible, or something has happened to make that goal unachieveable. Whatever it is, if there's a change, it's a change.

Change in self-awareness: their beliefs about who they are and what they're like, and what their circumstances are. Have they gotten more self-aware, have they gotten less self-aware, or has nothing changed?

Change in relationships: their relationships' overall health and resilience, as far as the character is concerned - which doesn't mean they're necessarily good, just that the character thinks they're how they're supposed to be. Have they improved? Have they gotten worse? Have they not changed?

Change in knowledge: do they feel like they know more about the world, their place in it, the people around them, etc? Not necessarily how to do things - just general information and awareness.

Change in social standing: how does others' regard for the character change over this part of their arc? Do people like them more or less? Are they respected more or less than before? Has nothing changed? And so on.

Change in skills and abilities: do they feel more skilled than they were before? Do they feel like they know how to do as many things as before? Again - not necessarily rooted in reality - a classic example of a character being wrong about this is a 'big fish in a small pond' character who used to be the high school sports star going to college on a sports scholarship and discovering they're not the best any more, and suddenly feeling like they're the worst - when they're better than they've ever been in an objective light. Use a subjective viewpoint for this.

Change in agency in life: how does the character's percieved agency change? Do their decisions matter less now than ever? Do their actions make way more happen than before? (See: no agency in action vs decisions are huge)

Change in outlook: Here's the upper/downer part. Are they more or less hopeful for the future? Do they think things are more terrible now? Are things improving as far as they're concerned? Or has that not changed?

Change in goal progress: how do they feel like they're progressing on the goals they've set for themself? Are they getting further and further away? Are they getting closer?

If some of this doesn't make sense and you want a clarification, you will have to tag me to get my attention, because I'm turning notifications for this post off the minute it leaves my immediate social circle.

Transparent version: (sorry you had to scroll so far)

[wtftaylr]

here have some Sadie Knox (my Courier Six) infodumping bc i am insane abt her rn

Sandra "Sadie" Knox / 5'2" / 34

Sandra Knox isn't her birth name, she got her first and last name separately from books she's read over the years.

Sadie is a scientist who worked as a courier and an overcharging con-artist repairman to save up caps to fund her research. She carries a notebook with her at all times, always scribbling down notes as it helps her think and process information.

Sadie is morally gray; a bit selfish and tunnel-visioned in her ways. Once Sadie has a goal, big or small, she’ll stop at nothing to achieve whatever it is. She has a unique way with words and can get you into trouble and out of it in the same sentence. This skill has saved her ass an insurmountable amount of times.

Due to her borderline extreme goal-contentedness, despite caring for those she loves and keeps close to her, she often comes off distant. Sadie has always had a rough time showing that she cares and her gestures can come off as awkward or forced. Her autism might be (is) partially to blame for this lol. Those willing to work past this awkwardness and allow her to adjust are rewarded with a ride or die friend for life.

She's got a reserve of pent-up rage. Though she can be quite irritable from minor conveniences [ex: she drops a pencil on the ground > emotional dysregulation from adhd rises > she's LIVID- ok she's fine now], she's not one to lash out at someone she loves. Her rage is kept internal and it weighs heavily on her shoulders.

Once speaking to Yes Man [before confronting Benny], she figures trying to get in on Benny's scheme is the opportunity she's been waiting for -- the prospect of a steady flow of caps excites her.

Oh and after her visit to BIG MT, she decides to help the Doctors by occasionally bringing them Mojave shit to research.

Sadie: look at the size of this legendary deathclaw hand. These things are large and terrifying, and despite the best efforts, nests continue to pop u-- Dr. Borous: the size of that hand.... Dr. Borous: it reminds me of my time in AMERICAN HIGH SCHOOL, when RICHIE MARCUS took his HAND to my FACE and BEAT ME SENSELESS behind the school. the AMERICAN HIGH SCHOOL-- Sadie: [patiently waiting bc she doesnt know when, or if, it is appropriate to intervene]

[chewyhanniebug]

i was trying to find something in my camera roll and got distracted by this ominous bitch again

GO AWAY LEAVE ME ALONE

[magnoliasandbeardedtooth]

thinking about the relationship between sif and the universe, and related theories / headcanons aka I listened to a song and I need to get these feefees out of me

this is a lot of prelude for something that can be shown with just the video clip, but I want to include all the strings that make up this knot

Its not explicitly stated, but I believe it's pretty clear that whenever sif repeats something three times while hoping for something (sharpening the keyknife, carving in general, praying to the change god statue in dormont), he is performing wish craft.

however, he doesnt repeat anything three times when getting the keyknife. he doesnt even need to pray to get it at all, the change god just gives it to him. they say themselves that they dont care for rituals. they never even take credit for the stat buff, they only take credit for the keyknife

when sif changes how they pray at the change god statue, their method more strongly resembles the ritual to make a wish at the favor tree (picking the one you like best), and as a result the buff gets better. it is the wish craft ritual that is the important part of the prayer to that statue, not the change god

one thing that IS explicitly stated is just how powerful wish craft is for those who know the rituals, and how dangerous it is in the wrong hands. between the disappearance of colors (Im pretty sure that was the result of a wish, I may be misremembering), the disappearance of the country, and the king being nearly successful in freezing all of vaugarde in time, it only takes one wish to take out massive chunks of the world at a time

we know that wish craft is very entwined in the culture of the country (the story written about in the journal is told as a cautionary fairy tale, the rituals themselves are so deeply ingrained in sif that the wish to forget the country did not restrict his memory of the rituals, and he can perform wish craft without even being fully aware he is doing it)

it seems reasonable to me that the reason for the country's disappearance was to hide the existence of wish craft and the rituals to access that power from the rest of the world. considering sif didnt even remember his culture AND had good intentions, and still nearly ended the world, seems like that concern is pretty well founded. however, thats not the important theory Im making this post about

the country has knowledge of wish craft in conjunction with worship of the universe. "the universe leads, we can only follow," "the universe willed it," seems pretty safe to say that sif's Universe is the "entity" that is granting wishes

the way wishes are described, they dont seem like something the universe grants based on who worships it. as long as you know the ritual, you get the wish. everyone is part of the universe, after all, worshiper or not

Admittedly, its a bit of a stretch to say that the universe as a collective force has any sense of empathy for human struggles. but using the change god as an example, as spiteful as they are to sif, and unsympathetic to anything other than a human's role in the concept of change, they still show a great deal of care and favor to mira, someone who loves them. it is possible for a deity to care for those that care about it

sif, despite no longer having access to his culture or why he cares about the universe, still loves the universe, very very deeply, just as much as mira loves change. the change god says that sif's deity will never answer him, but I dont think thats the case

and this is the important headcanon that I am making this post for

sif is performing the rituals, so he gets the wishes, simple as. but I feel strongly that his wishes getting granted in very small but noticeable ways, despite not knowing how or why hes doing it, is the presence of his universe helping him, caring for him, even when he doesnt remember it

the strongest evidence for this, and the basis for this whole thing, is exactly how euphrasie breaks down in act 5

at first I only really noticed when she laughs, it reminded me very much of how the change god, a being who uses sprites of other characters and has done a whole possession, laughed during their encounter. they and euphrasie are the only two that use anything other than "ha," and right after this laugh is when her breakdown pauses and she says the lines

"... Soon you'll be able to go back to your normal lives. Away from battle and strife. Finally, you'll all be able to go home!!!"

which, knowing the end of the game is coming, is incredibly relevant. very deliberate

before this pause, her breakdown seems pretty chaotic. the characters and the player are just coming out of one harrowing experience, and are clearly headed for another. the cohesiveness of this glitchy breakdown amongst a mess of the rest of the world doing the same isnt really high up on the list of priorities. none of the characters notice anything beyond the fact that reality is breaking, not even sif. it just sounds like scary nonsense.

but with the context of euphrasie being possessed to talk to sif, every single one of her lines makes perfect sense

(footage from Zhain Gaming on yt)

the universe is there its talking directly to him, it was there the whole time

the Universe loves Sif so much

[jackass-jones]

Fuckin. The reason Owen has asthma is literally because his real self is buried alive suffocating and his mom is the one who reminds him to bring his inhaler when he’s a kid and next time we see her she’s sick and then she’s dead and when Owen watches the finale he’s wheezing and projectile vomiting and his dad springs into action to drown him further and when it’s the final act his lips are severely chapped from overuse of the inhaler and he keeps trying to inhale from it but it’s not working and he just keeps wheezing loudly keeps trying to make this all work he knows why it isn’t he’s dying she’s DYING he ends the movie apologizing to everyone and still wheezing

[fatedroses]

The (perhaps cursed) result of Zenos listening to Tsukiko sometimes (she has no remorse).

[suffarustuffaru]

i need to share my very horrible idea to combine the reinhard/julius/otto/subaru boy drama into one julius-centric fic

ok so a little while ago ive made all kinds of ottojuli and reinjuli posts and while i havent finished all my major julisuba posts Yet i am quite fond of julisuba also and i think itd be incredibly funny if you just dumped all of these ships into one story. just go ALL IN on that boy drama!!!! go big or go home amirite!!!! the worlds WORST love trapezoid youve ever seen!!!!

this post is just me rambling fic ideas bc i sadly dont have time for Every Fic Idea and also i just. i just think itd be funny putting multiple ships with the same person in them into one fic. on a serious level its like mimicking real life relationships where sometimes people come and go and you have different dynamics with each person!! on another level i just think this is also very funny so!! here we go. under the cut:

anyway so my idea for this is that you know, julius of course meets reinhard when hes ten and reinhard is eight and then it alters julius's brain chemistry. at first he's in complete awe of reinhard. and then over time the shame starts setting in. that julius isnt as strong as reinhard. and the jealousy sets in a bit too, so julius's got this chip in his shoulder trying to carry his family's legacy and trying to carry the weight of knighthood to be as perfect as possible. to be as close to reinhard as he can. they meet again in their teens and julius shows reinhard the ropes of like basic knight stuff bc reinhard just joined the knights. and of course reinjuli become friends but julius has spent his whole life quietly watching reinhard from afar and now julius still has that distance with reinhard even as theyre supposedly friends now. reinhard is a God, you know? his powers and his leash from the kingdom and his family keep him distant and the two of them are ignoring that. classic homoerotic "do i want him or want to be him" friendship where both of you are too scared to get any closer for various reasons with a Twist (reinhard's very real monster complex that keeps getting validated bc Everyone Around Him thinks hes a monster).

anyway but then julius remembers that you know, shit between reinhard and him wont work out for many reasons, like reinhards family deciding to torment julius at various points in his life (heinkel, whos julius's boss, and reid, who went from julius's childhood idol to. you know.), and also reinhard needs to have kids because hes the sword saint, and also homophobia exists in rezero. and also even if those werent all obstacles julius still has his Complexes connected to reinhard and they got that distance between them so. no go. (repression gets in the way of relationships :((( )

also quick side note is that ex 4 happens and julius reinhard ferris go to vollachia and julius interrupts a meeting with vincent vollachia himself to go "I UNDERSTOOD THAT LITERARY REFERENCE YOU JUST MADE. THATS A REALLY GOOD REFERENCE I LIKED IT A LOT" bc hes a massive nerd and ig this is slightly-more-of-a-disaster-gay julius au so julius is like ............................. vincent was kinda cool for that.

AND THEN SUBARU CRASHES INTO JULIUS'S LIFE and julius is like seeing this guy who's also got a chip in his shoulder and then he insults the knights and says the knights are all depending on their dads (nepotism) and julius is like .......the chip in my shoulder was bad enough and also youre kinda like me fr. and you are clearly a fucking misguided kid so now i have to save your ass. i cant NOT save your ass. and reinhards like "julius and subaru nooo you dont have to do this :((((" and julius cant admit atm that hes also doing this to save subarus life so julius is just like "he disrespected the knights >:(((("

but yes we all know what happened there. julius saves subarus life. julius has to slice subarus throat in that one failed loop. they become friends across several timelines. they also homoerotically share souls, you know, typical bromance things, rivals to lovers except subarus the one going YOURE MY RIVAL and julius is like he is SUCH an upstart. hes really grown on me like a fungus but thats the appeal. and julius i think sees subaru as like a kindred spirit (or at least thats how i interpret julisuba) except subaru is like way more freer than julius is. same desire to prove yourself but subarus not restraining himself constantly like julius. its sometimes to the point of recklessness and general stupidity and what have you, but his boldness and bravery and determination and heart really is admirable.........................

yeah so anyway julius falls for ANOTHER guy again, you know how it is sometimes. the heart wants what it wants and julius is cursed to always have the worst meetings with his closest friends. and of course julius gets heartbroken bc wtf i have to kill my new friend :((( noo!!!! but in the finished loop its like. oh subaru...... hes really improved himself. hes grown so much already. hes kind of. inspirational really. idk how he does it. except subarus you know got that Mystery to him the same way reinhard does (theyre traumatized and Cant Take About It Normally so they just randomly lore drop what they can) and also subarus SUPER into emilia. and julius is like .................... well. subarus taken. haha. and reinhards. taken. fuck me. fuck. and like somethings going on with subaru and rem and emilia right. fuck. and subarus got his whole toxic masculinity / gender crisis..... and he doesnt know hes Bisexual yet...... man. what a loss for julius amirite haha.

and also subarus busy after arc 3........... and julius has no idea whats happening there but that seems Real serious :(( and julius's got other things to attend to so he hopes subaru reaches out to him eventually..... or that they cross paths again since subarus in the emilia camp and julius is in ana camp (and of course reinhard is in felt camp and like that was a whole debacle bc wtf. reinhard, u do know thatd be a big deal to our mutual friend felix?). so. julius pines from afar ONCE AGAIN HAHA.

(also of course subarus still attracted to reinhard here. its um. well julisuba can bond now over pining over reinhard but thats for later also!!)

anyway of course during arc 3 julius briefly runs into some gray haired merchant twink thats being dragged around by subaru bc ana camp rescued this guy from a cave somewhere??? and this new guy and subaru made a deal or whatever so he was just helping out in the background of the fight against sloth??

and whaddya know................ julius goes to drink at a bar bc you know he probably tastes wine for fun in his free time (hes definitely Fond of wine anyway iirc) and now hes Sad over the Ones That Got Away so. bar it is. and gray haired merchant twink is there!! no way. they start talking a bit casually while drinking you know and julius's taste is Unfortunately either the graceful ones (anastasia, because julius has great taste in women) or the cringe fail ones (all the twinks - except for felix - that julius keeps having the wildest first meetings with, because julius has slightly shit taste in men) so julius is like huh this otto guys kinda funny lol. endearing in a weird way!! and -

oops they both end up being a little. they make a little bit of a move on each other. bc they were drinking and got a Bit tipsy. ottos Also not over the one that got away (subaru) (again) and hey. the finest knight truly is. Fine. objectively fine. totally. so you know. things get a little out of hand, maybe they do a bit of cringe fail flirting hidden underneath five million layers of repression and the Horrors of Being Known but ultimately they both embarrass themselves somehow (read: how far they went with each other while under the influence is up to you) and agree to Never Speak of This Again bc oopsies they were both technically each other's first time being Straightforwardly Not Straight with another man. oops. anyway julius has to go back to his camp and otto fucking bolts but he bolts right into subaru and gets his ass dragged into sanctuary drama.

julius is totally not a little bit envious about that.................... about otto getting to accompany subaru to sanctuary... but dont worry julius!! youll get to make up for it later!! bc eventually arc 5 stuff happens. and julius is Glad to see reinhard and subaru again. even with all the Baggage. and subaru is of course Weird about julius but eventually subaru reassures julius after they both confide in each other about the astrea drama (theyre honorary astreas via being dragged into the astrea family mess). and subarus reassuring to julius in a whole new way okay. subaru, whos unrestrained and incapable of being on the down low about anything, and julius, whos always holding himself back with a gazillion layers of repression, starts learning to let go a bit...

but also juliotto meet again. its terribly awkward and they both agreed to never speak of their awkward encounters again. subaru is going ??? and reinhard is clueless. otto then also goes to save reinhard and felt from heinkel trying to take felt hostage, which was also terribly awkward but reinhard and felt are grateful about it (but lbr if reinhard and otto knew each other deeper reinhard would maybe be a little. Apprehensive. around otto while otto would be sympathetic with reinhard bc hes like male emilia). but then while otto manages not to get erased by gluttony....... julius gets erased. of course. which you know results in being forgotten by reinhard in julius's THIRD first meeting ever with reinhard. and subarus the only one who remembers him of course.

then arc 6 happens :,))))) and julius of course has to confront his ideas of knighthood, his identity, his self esteem, and who he is outside of His Name. and also julius gets his ass beat by reid. his childhood idol. who reinhard KNEW was a shitty person but never ever told julius (whether this is because reinhard wanted to spare julius's hero worship or because reinhard never got the chance to tell julius is hard to say lajdsf). but julius does get to triumphantly win in the end!! grow as a person!!! learn to undo a bit of that repression and not hold himself to impossible standards all the time!! hes growing still!!! hes finally solidified his friendships with people like subaru and emilia!! hes remaking his relationship with anastasia!! hes asserted himself, hes planning on going to meet reinhard again one day and duel him!! things are looking up even if its still bittersweet that he doesnt have his name back yet!! does this mean?? perhaps?? a HAPPY ENDING?? julius can have the two men (reinhard and subaru) he admires the most in his life?????? as friends???? or as boyfriends?????? slowburn mutual pining????????????????????????????????????????

and then comes. arc 8 otto. that piece of shit.

julius is very much someone who has to grapple with the weight of the expectations that people throw at him. and also reinhard is someone who May envy julius a bit, but there's also you know, joshua and subaru with the Explicit Envy and (past) resentment because theyre placing heavy expectations on julius!! theyre pointing blame at julius!! julius is trying to find himself outside of stuff like that, especially after arc 6, but he's still got stuff to work on you know? he still has duties to fulfill!! loyalty that he has to act on bc hes gotta help subaru and co in arc 8!! and then in comes otto.

otto is also someone with expectation placed on him, but its Different. ottos mostly a nobody and when hes Not a nobody, his reputation tends to be Derogatory. hes a menace. hes a bad luck charm. hes grappling with the fact that he has to keep being left behind - post-arc 5 bc he was injured, but also repeatedly during arcs 7 and 8 because hes too physically weak to be on the same playing field as emilia or garfiel or subaru on the battlefield. he feels Useless after placing his identity on the expectation that hes Dependable and Useful.

julius is a bit more on even ground with otto now that julius is. also mostly a nobody bc his name is still gone. and also julius had to deal with having that part of his identity crushed. julius tried to be useful over and over in arc 6 only to get his ass repeatedly curb stomped by reid in the beginning. he was a nobody. he wasnt dependable anymore. and also otto is that one guy he had a Passing Fling with over having The Ones Who Got Away and julius was still vaguely hopeful about maybe being pals at least but ottos brushed him off a bit since arc 5. theyre like each others secrets you know? and now otto doesnt know that shit - julius is the only one who Knows - and otto also hates julius's fucking guts now. over SUBARU. and julius has been through this whole rodeo clown circus with arc 3 subaru so this is an absolutely terrible ride through memory lane.

and this is julius's THIRD twink that hates him for terribly unfair reasons. julius is very tired and a bit heartbroken in this au trying to pretend it doesnt bother him. on one level it doesnt. bc ottos pathetic and clearly Overcompensating for Something. on another level it kinda does bc julius had a Thing going with otto. and otto is the complete opposite of julius. like hes different from the other guys julius has liked.

julisuba is about complimentary opposites - they appear Extremely Different at first glance but theyre very similar. theyre people who try to look and act bigger than they are, people who keep reaching to be The Best, to be Perfect, because theyre overcompensating. theyre worried their entire identity is only built off of trying to be bigger than the shadow that other people in their lives (like their families) cast. but they cant reach perfection. and julius is like subaru but if subaru tried to really make himself "refined" - if he tried to stop putting his heart on his sleeve all the time. reinsuba are very similar too. theyre very refined knights who try to keep themselves in check at all times while the weight of the world is on their shoulders. they cant have a hair out of place. except julius is like the "smaller" version of reinhard. julius is less powerful. its like comparing a human and a "god" - reinhard, whos untouchable. but its a double edged sword, because julius gets to be a normal person, because half the expectation placed on him is also purely from himself, while reinhard isnt. reinhard isnt Free. hes on a leash by the kingdom and his family. julius even gets his kind of "celebrity" status stolen from him via the loss of his name. hes truly kind of Normal now - julius is like if reinhard didnt have his crazy abilities and had a little more of a chance to be free.

otto? yeah otto is. very very far from all of that. hes so obviously imperfect that most of his reputation, when its brought up, is just him being known as a mess who's caused various forms of chaos everywhere he goes. either that or hes just. There. Invisible. very very average. and otto is someone who wants a nice comfortable life, someone who wants to fit in - julius and subaru arent Exactly like that, and while reinhard also wants to be normal, ottos the one who has more of an opportunity. but he doesnt. because otto Dooms Himself by being recklessly cutthroat. otto is like if subaru was just. More of an asshole, so ottojuli would just be a rather Extreme Challenge for julius to have to deal with HAH. and normally otto is someone who repays how people treat him - a very "you treat me like this, i'll treat you the same way in turn" kind of deal, except ottos developed a vendetta against julius and its basically like if subaru never let go of his arc 3 julius vendetta.

yes so anyway. etc etc stuff probably happens but i ran out of ideas lajdlfjasdf i just think combining ALL the boy drama and recontextualizing + adding to canon would be. batshit crazy. and terribly entertaining. im so sorry julius but i want to see you crack a bit under the pressure. reinjuli as a ship is like tragic gay yearning that never goes anywhere past being friends with quiet homoerotic tension, then julisuba is. you know. extreme rivals to lovers, starts out Rough but then ends up being super super sweet and theyre Trying their best underneath the self esteem issues. and then ottojuli is. toxic yaoi at its finest (pun intended). you get Every flavor of mlm possible!!

ok so you may be asking "ok what would you even name this fic then" and to that i say that this would be called To All the Boys I've Loved Before.

anyway i really wanna write this idea someday ill inform you guys (if youre reading this and are Interested) if it ever happens :< so. in conclusion this is just julius the entire time throughout all of these events:

[calciumcryptid]

Decided my proposal for a We Are Series ghostship is Beer and Kleun. They could make a very chill couple.

[boar-cry]

reading through the nintendo leaks will have me gigging at some of the goofy beta sprites to analyzing the equivalent of the pokémon bible before throwing in the most insane shit ive ever read with no warning.

[scarlettfevor]

Decided to start watching teen wolf because why not, and I'm literally only 3 episodes in and I already suspect that Scott is probably going to be my favorite, and I know that there's a thriving shipping scene for this show so I took a quick peak at the top ships on ao3 and it......Derek and Stilies...? I think that once I get over his kinda cringey early 2010's humor I could grow to like Stilies, but Derek? To me he just seems like every other sad bad boy in every twilight/Buffy-inspired teen show from the 2000's - 2010's, there is 0 chance I'll actually like him, so it's no surprise really that he seems to be fairly popular.

[gay--dog]

@fartcowboy tumblr kept freaking its whole shit every time i tried a workaround for uploading the video in a reblog so im making a new post for it. this is possibly the dumbest shit ive ever created but. man what isnt at this point

[dveam]

car pile

[psycherprince]

"my childhood bedroom didn't have lights in it" is actually only the second most wack thing I've said about my childhood today somehow

[vamptastic]

turns out there has been another jew in religion class the Entire Time he is just very quiet and hates the class

[lightblueminecraftorchid]

I love learning ASL it’s so good. Makes me happy to learn it. I’m so glad my university has classes for it with professors actually steeped in Deaf culture.