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dcxdpdabbles · 3 months ago

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I don't know if you were planning on making any more but One Hell of a Good Bellhop is such a good fic and I would love to see more of it

(also I've been reading through your masterlist of posts so sorry for sending you so many notifs from liking them all) ❤️❤️

Charles smiles at the couple, eagerly looking through the clothes Danny had in the old employee lounge. Since they didn't have any more employees, the boy made the suggestion of setting up a gift shop, creating miniature nicknacks from the different eras he transformed the hotel into.

He sold costumes similar to whatever era he wanted the theme to be—this month, it was the Golden Age of Piracy, complete with a treasure hidden somewhere in the hotel for anyone to find—and the pirate costume could make a Hollywood costume designer weep with joy.

Charles didn't understand Danny's meta powers—not that he needed to. He figured he didn't need to. He just accepted that the boy could influence the hotel as if it were one of those video game home designs kids played.

He went to bed one night with the hotel Sally had adored so much falling apart, only to wake to it being in perfect condition, just like his memories. To find rooms set up with furniture and decoration that screamed wealthy—well, it just made his heart warm.

Especially when young people started wandering in, lured by Jazz and Danny walking the streets with flyers. It's been a long time since he saw the look of wonder in his guests' eyes as they took in his beloved hotel.

Danny seemed to really enjoy taking over the hotel. He somehow got the housing, the cooking, and the maintenance taken care of. He was always out of sight, but it let Charles sit at the front desk, resting his feet and watching life be breathed back into the hotel.

If Sally were alive, she would be sitting right next to him and cooing at the young couple holding up clothes against each other, faces flushed with love, as they try to select an outfit.

Despite being males, their excitement reminded him of his younger days when Sally and he would go on trips together whenever they stumbled across a bookshop.

His girl loved reading, while Charles had always fancied custom-made journals. Watching young people fall in love filled his heart with nostalgia; he was lonely.

Eventually, the couple finds what they like to wear for the pirate treasure hunt event and approaches the cash register, where Danny mysteriously appears. His young tenant was dressed in a black trench coat and skulled hat, looking like an authentic Black Beard pirate.

Charles has been watching the whole time, and despite it looking like he merely rounded the door behind the wall leading into the gift shop storage, Danny has literally blinked into existence.

Not that the two young men knew that. They merely paid for their outfits and what looked like a ship in a bottle. As soon as the payment was complete, Danny rounded the same wall and vanished. Charles turned his head to find Danny by the main entrance, holding the door open for a woman with a beaming smile.

He was now dressed to appear like a Cabin boy as he carefully led the new group to Charles for check-in. He didn't wait to hear the room number the group would be staying in before placing their luggage on a cart and vanishing down the hallway.

The woman and man with the three children looked alarmed, but Charles calmed them down by assuring them that their luggage would be waiting for them as soon as they were in their rooms. As he was finished adding them to the system, Danny reappeared to offer the startled couple a warm meal and hot chocolate for the kids.

Jazz, the sweetheart, taught Charles how to use the latest technology. She even modified the code to make the systems more user-friendly.

Charles was touched that she didn't fight his assistance to keep using a guest log book, even with their booking system, and went out of her way to find journals that fit Danny's chosen theme for the month. The kids seemed especially excited to write on parchment with quills afterward, as the adults were charmed by Danny's excellent cooking skills.

He was also in another outfit, this one looking more like a regular pirate member, though with a more green theme than the black of before.

"Are they triplets?" Mrs. Oblie asks as Danny fades from sight, only to appear at the gift shop, helping someone buy a signed treasure chest. He's back in a Black Beard outfit. "The three seem like hard workers."

Charles smiles. "It's the same person. Danny is a very hard worker."

"What?" Mr. Oblie gasps, twisting to stare at Danny and the direction in which Danny had taken their luggage. "How did he change clothes so quickly?"

"He was in the circus," Charles replies with a laugh. "He is used to quick changes. Plus, there are a lot of hidden passages way here."

He says the last bit like it's a big secret, winking at the children- one seems to be ten, the other seven- watching excitement bloom on their faces as they start looking around, attempting to spot the non-existent secret passages. The explanation isn't enough for Mrs. Oblie, but she doesn't argue further as she ushers her family into their room.

They will be down in a few hours so their kids can run around the hotel searching for a treasure. Mr. Oblie admitted over the phone that they hadn't had enough money for a vacation like he originally promised his eldest for her birthday, so this kid-friendly event was a lifesaver. Danny had claimed that it wasn't a lie- apparently, he can hear lies within the hotel, including the landline?- and had chosen to let the Oblie find some treasure even if they didn't win the main pot.

Charles wonders what face Mr.Oblie will make when his daughter finds the real diamond tiara that Danny set aside for her. Where on earth did the boy find something like that?

Charles didn't know and figured it was another part of Danny's meta abilities.

He turns towards the door, smiling as Jazz struts in. Her pantsuit is perfectly tailored, and her red hair falls gracefully behind her back. A few of the mingling guests are star-studded as she strides, her heels clicking on the ground like a bell.

If Danny was the ultimate bellhop who popped in and out of sight, Jazz was the hotel manager who commanded respect and awe. She was here for lunch, always arriving around one o'clock on the dot and the regulars who picked up on that fact always came down to get a glimpse of her.

Jazz and Danny were attractive siblings, but it wasn't mere looks that grabbed people's attention. They felt overwhelmingly alluring, like visiting Fae or a fallen star, as if somehow human but only just about.

Charles often wondered why someone like her was working as an assistant/secretary for an insurance company. She was far more capable than an entire management team.

She set up all their administration details. Charles had no idea how she could organize all their bills, supplies, advertisements, investments, and anything else he could think of for a business while booking appointments and filing claims for an entirely different company. To Charles, it was never about the money, but they were making a large amount now that the Fenotn children took over, and he offered her a position with better pay multiple times.

Jazz waved it away, saying she needed another job for her brother. He does suspect that she only stayed at Gotham Todd Insurance because of the young owner, whom her eyes tracked whenever Mr. Jason Todd walked through the building.

But Charles kept that theory to himself.

A soft clatter sounds from his elbow. Charles looks down to find a steaming plate of food, obviously done by Danny. He smiled at it, holding it up to Jazz as she neared. "Hi, sweetie; how's work going?"

"Hi, Grandpop," She beams, leaning over to hug him and gently kiss his cheek in greeting. "It's been a boring day. I finished this week's work in a few hours and just spent three hours preparing everything for Danny's next theme. Get this; he wants to do couples Cupid house for Valentine's Day."

She shakes her head fondly, in a way that reminds him so surreally of Sally that his heart squeezes. "Honestly, what goes through that guy's head?"

Charles beams back at her, hand curling around a glass of juice that zaps into existence in front of him like second nature. He hands it over to Jazz while she carefully cuts through her meatloaf.

"I think it's a wonderful idea," Charles tells her, leaning back in his chair. Jazz joins him as another plush chair appears at his side, and it takes him a moment to realize that Danny has restored the same club chairs from when the Gotham Fog Lodge originally opened.

These chairs were the ones that Charles and Sally used the first night they met by the fireplace of the hotel's main sitting room. They spoke for hours, and by the end of that night, he knew she was the one. Seeing the young lady he considered his granddaughter sitting in the same chair, Sally had adored so much, made her feel closer then ever before.

He wonders if he could die from how warm his heart glows.

"I think love is the greatest thing Gotham Fog Lodge can offer," Charles says, wiping some tears away. In return, jazz gives him a warmer smile, and Danny appears on his other side, placing a hand on his shoulder.

"Gotham Fog Lodge is great because you're here, Grandpop," Danny says, seemingly unaware of how the hotel brightens when he speaks. "You were the only one who was kind to us when we got to Gotham."

Charles hugs the two rascals to hide the few tears that fall from happiness. He has no proof, but he's sure Sally sent these wonderful children his way. How else could a smuck like him be this lucky?

#dcxdpdabbles #dcxdp crossover #One Hell of a good Bellhop #Part 2 #Charles' pov #The Fenton kids are odd in normal peoples eyes #Danny is at home in his new Haunt #There are some rules #Danny can't keep any of the wealth he creates like the dimonds terira but others can since his Obession is protection #Jazz be the CEO of life #Pre-anger managment #The Hotel is magic #And Charles loves his grandbabbies

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saintobio · 1 year ago

Text

blank canvas: the epilogue.

pairings. ryōmen sukuna, fem!reader

genre. past lovers, angst, opposites attract

tags/warnings. mentions of toxic relationships, purple hearts-ish themes, maybe some heartache

notes. 2.4k wc. i said it’ll come in a few days, but i had free time so here it issss!

part 1 | part 2 | part 3

TWO YEARS LATER

Tonight was Yuki and Choso’s going-away party.

Their decision to migrate to another side of the world was because Yuki had always talked about wanting to live abroad, and so when Choso was offered a once-in-a-lifetime job opportunity in another country, it became the perfect chance for them to make that dream a reality.

So despite your apprehensions, you couldn’t miss the chance to see Yuki one last time and accepted her invitation to the party.

The evening was alive with laughter and chatter as their families and friends gathered to celebrate their bittersweet departure. Among the crowd, you spotted some familiar faces who exchanged greetings with the couple, as well as some strangers you had never seen before.

But one person was conspicuously absent.

It had been two years since you had seen Sukuna, and the thought of potentially running into him again filled you with a strange mix of anticipation and dread. However, deep down, you knew he wouldn’t be there. There was no chance of him ever showing up because you hadn’t heard from him since that fateful night. The apartment you once shared together now housed a new tenant, and the tattoo shop across the street had transformed into a record store. Neither Yuki, nor Choso (even Yuuji), had mentioned anything about Sukuna since then, possibly avoiding any mentions of him to you out of his request. He had simply disappeared, evaporated from existence, leaving behind nothing but a fading memory.

As you scanned the room with a forlorn smile, your thoughts were interrupted by Yuki’s cheerful voice. “Y/N! So glad you could make it! I thought you weren’t gonna come, too.”

Your first instinct was to hug her tightly. “Of course, not! You know I can’t not see you before you go.”

“Aww.” She embraced you tighter before pulling away with a sad smile. “I’m gonna miss you so much. You’re like a little sister to me.”

Indeed, and she was the big sister you never had. Things would feel different without her here, but you supported her decisions and would always wish her the best in her future endeavors. So, despite the distance you two would soon have, you gave her a reassuring pat on the back. “We can still keep in touch. And maybe, I’ll pay you a visit there, too.”

“Honestly, I would love that!” she enthused, “Please do, even if I have to harass Getou and Gojou about it.”

You chuckled as she mentioned the duo’s name and spent the next few minutes with you chatting for a bit, catching up with your life, talking about your future plans. It was amazing how much can change in two years, and how some things can also stay the same. Like your friendship. And this bond that you would never find with anyone else.

For now, the night was still young, and you knew Yuki still had many more guests to accommodate, so you didn’t want to take all of her time. Eventually she did excuse herself to greet more guests, and you found yourself standing by the kitchen island, absentmindedly stirring your cocktail.

As you stood in the corner of the room, surrounded by the chatter and laughter of the party, you felt a sudden jolt run through your body as loud voices boomed across the room. They were Yuuji and Choso’s exuberant greetings cutting through the air, drawing everyone’s attention, including yours.

“Nii-san!”

“There he goes, Mr. First Lieutenant!”

Your eyes widened as you saw the figure they were addressing with playful salute—a man in a crisp military uniform, standing tall and confident. It took you a moment to recognize him, but when you did, your heart skipped a beat.

It was Sukuna.

He looked different, transformed almost, his demeanor more composed, his smile softer yet still retaining the undeniable aura of masculinity. He looked a lot more muscular than the last you remembered. His hair, now dyed back to its natural color, was neatly trimmed. You recognized that the uniform he wore was of the Japan Self-Defense Forces, adorned with badges and insignias that spoke of his achievements. The reckless, wild look in his eyes had been replaced by something steadier, more focused.

It wasn’t just the sight of him that made your heart skip a beat—it was how different he looked.

“That’s so cool!” Yuuji raved about his older brother’s badges, his starry eyes genuinely intrigued at the sight of Sukuna in a uniform.

Choso, on the other hand, was pulling him in a hug in an emotional jest. “Dammit. You said you couldn’t make it!”

“Don’t cry now,” Sukuna teased, patting the younger brother’s back. He seemed to be genuinely having fun teasing his brothers. “Had to pull some strings. I was on duty, but do ‘ya think I’d let you go without seeing you?”

You felt a pang of nostalgia in their interaction, but also recognized the visible difference in the way your ex-boyfriend spoke to others. He was genuinely happy. He was all smiles. He was the healthiest version of himself, both physically and emotionally.

It was clear to you that Sukuna had turned his life around, and it was evident that he was doing well in his field of work. The man you once knew, who had been consumed by his reckless way of life, was now standing tall and respected as an honorable member of the military.

When you said you had never met Sukuna again in your lifetime, that was true. Because the Sukuna you knew was no longer here. It was an entirely different man, changed for the better, just not for you.

As if sensing your gaze, Sukuna turned and your eyes mirrored each other’s surprise. For a moment, the world around you seemed to fade away, as if you were characters in a movie screen seeing each other for the very first time. It was as though your eyes were the camera, and he was the actor. You could say you were starstruck, your heart thumping so loud that you could hear it vibrate through your ears.

Two freaking years, and Sukuna still had that effect on you.

You didn’t know what to do. You found yourself at a loss, the red cup in your hand now shaking from the sudden surge of anxiety. Your mind was a whirlwind of conflicting thoughts, a kaleidoscope of heavy emotions, a tornado of nostalgic bliss, leaving you feeling adrift in a sea of memories.

You wondered if Sukuna hated having to see you here. And if so, should you leave to spare yourself—or perhaps him—from any potential discomfort?

Caught in this internal struggle, you felt paralyzed, uncertain of what to do next. But then, you saw a flicker of recognition and regret in his eyes.

Before you could even contemplate your next move, Sukuna was already excusing himself from his brothers. Their knowing looks exchanged in silence spoke volumes, indicating they were aware of where he was headed. The realization then hit you like a wave. Sukuna, your ex-boyfriend of two years, was coming toward you, and you were suddenly faced with a decision between confronting the past or making a quick escape.

“Y/N,” he greeted with a boyish grin, his voice deeper, more controlled. The bad boy persona he used to carry was completely gone.

“Sukuna,” you replied, struggling to keep your voice steady, a complete opposite from his confidence.

There was a moment of awkward silence before he spoke again. “You look great.”

“Thanks,” you meekly replied, clearing your throat and gesturing to his uniform, “You, too. Military suits you. I never saw that coming.”

He smiled in agreement, seemingly happy about his current appearance. You had never seen this kind of bliss from him before, like he was filled with content and a sense of self-worth. He was proud, and truth be told, you were, too.

“It’s been a good change. It gave me structure, purpose,” he paused, taking a red cup from the kitchen island nearby, “I finally got something ‘better’ to do with my life, huh?”

You smiled softly, not missing the implication of his last statement. “I’m happy for you. Really.”

“Thank you.”

“Of course.”

“Mhmm.”

The minutes that followed were some of the most agonizing of your life, not because of Sukuna, but because of the overwhelming awkwardness that enveloped the two of you. It felt as though you had nothing else to discuss, knowing full well that delving into your shared past was a territory you could never comfortably navigate. However, Sukuna, always the more vocal one in your relationship, had finally broken the silence.

“Do you…” he began, leaving you on edge, anticipating his question, “Do you wanna get some fresh air outside?”

Right. And with a smile, you nodded. “Sure.”

— —

You were grateful for the opportunity to escape the stifling atmosphere of the party and find some solace in the cool night air. Both of you were at the front porch, sitting over the pavement talking about anything but your past.

Sukuna excitedly talked about his time in the military, where you learned that he had enlisted two years ago and joined the army. After enlisting, he quickly excelled in the rigorous training required for the Special Operations Group (SOG). It didn’t surprise you that his physical prowess, sharp intellect, and determination made him a standout candidate.

“I actually completed advanced courses in counter-terrorism, reconnaissance, and combat survival,” he shared, his gaze set on the clear starry night above you. “Oh, and last month, I was deployed on a high-stake mission overseas. We extracted hostages from a conflict zone. Remember the action movies we used to watch? It was exactly like that. It was fun, thrilling.”

You listened intently, an elbow propped on your leg as you absorbed the enthusiasm in his stories. Pride and joy swelled in your heart as you heard him talk about something he was passionate about, because it was a stark contrast to the old Sukuna who wouldn’t have shown interest in these things. And this time around, you felt like you were infatuated again, but with the new him.

“I’m really proud of you.” Longingness dripping from your voice. “Very proud. And you’re First Lieutenant, too? Wow.”

The compliment seemingly made him blush, a sight so rare to see that you haven’t seen it throughout your relationship. “I wanted to become a better man.”

You felt a squeeze in your heart. You recalled the words he said that night at the parking lot, of him telling you that he had his own insecurities, too. That he knew all along that your uncertainties about him were rooting from his way of life. That he was aware that he couldn’t give you the life you deserved.

“Y/N.” Your name rolled off his tongue in an affectionate manner. He soon rose from his seat, prompting you to follow suit, before turning to face you. “I forgot to mention.”

You swallowed hard. “Yeah?”

His smile was sweet and genuine. “I’m engaged now.”

Oh.

Of course.

What did you expect?

His words settled in your heart like a suffocating shroud. Despite the ache in your chest, you managed a polite nod, concealing the storm of emotions swirling inside you. But you couldn’t contain it—the damn tears that pooled in your eyes. Please, not now. You turned away, hoping to shield your reaction from him.

But it was all too late.

He was already pulling you into an embrace, the familiarity in his warmth only making you weaker inside. “You are and will always be my greatest love,” he whispered into your ear, pressing his lips against your temple, “And also my biggest regret.”

Damn it. You covered your face with your hands, feeling ashamed of the tears streaming down your cheeks. What an absurd twist of fate. You could have gone about your day without encountering him again, yet here you were, shedding tears over the same man who had broken your heart two years ago.

“When I say regret,” he continued, cupping your cheeks and smiling at you lovingly. He ran his thumb across your cheeks, wiping your tears away. “I meant regret of not being that man for you. I didn’t treat you the way you deserved, or respected your boundaries like I thought I did.” Sukuna’s charm had you holding your breath still, too enamored by his beauty under the moonlight. He used to be a man of a few words, and now he didn’t shy away from pouring out his raw emotions. “I’m sorry I was two years too late. I’m sorry I had to let you go and be with someone else. But you and I know that it’s for the best.”

You weren’t crying because you wanted to get back together with him. You weren’t crying because he had promised marriage to someone else. You were crying because it felt like he was the one who slipped through your fingers, the one that got away, the one who could have been your forever if circumstances had aligned differently. It was the regret of a lost possibility, the ache of knowing that in another universe, you and him could have shared a lifetime together, untouched by the mistakes of the past.

He had dreams of making you his wife, dreams of having your children, dreams of growing old with you.

But the old Sukuna was dead, replaced by the new Sukuna who was happy and free from love’s toxicity. You realized it was time to let go. Time to bury the past and instead celebrate the future.

“Congratulations on the engagement,” you offered your well wishes, pulling away slightly to meet his gaze with your tear-filled eyes. “I hope she doesn’t find you a handful.”

He let out a soft chuckle, shaking his head. “No, no. I have to behave or else I’m a dead man,” he joked. “She's in the army, too.”

“Well, I’m glad you met her, Sukuna. You deserve it,” you said, your voice filled with genuine warmth as you wiped your lachrymose eyes.

Gratitude and comfort shone in his gaze. “And I’m glad you found your peace, Y/N. You always deserved better.”

You smiled in appreciation of his words as he helped you dust off your pants. Just then, your phone buzzed in your pocket, briefly taking your attention away from the current scene. “Uh, I think I need to go,” you hesitated, glancing back at the house. “But I think Yuki’s pretty busy.”

“It’s fine,” he assured. “Do you want me to call you a cab or?”

“No, it’s okay,” you replied, shooting him a grateful expression. “Satoru’s on his way to pick me up.”

He nodded, smiling. “Cool.” You were surprised when he offered his hand, a gesture to finally close whatever remained between you two. “It was nice seeing you, Y/N.”

You shook his hand and gave him a playful salute. “Likewise, First Lieutenant Ryomen Sukuna.”

As he returned to the party, immediately attacked by his friends, there was no hint of yearning or longing in him, as if the poignant exchange with his ex-girlfriend had never occurred. He was back in the scene in a fluid motion, laughing, catching up with his loved ones, telling stories about his life. No heartbreaks, no painful memories.

While as you stood there, knowing you had shared respect and love for each other, you were happy that there was a sense of closure in seeing Sukuna as the man he had become. You had both grown, both changed, and in that moment, you knew that your story, though painful, had led you two to where you needed to be.

That your love’s canvas, once blank, now held colors to complete the portrait.

#sukuna angst #ryomen sukuna x reader #sukuna x reader #sukuna x you #ryomen sukuna x you #jjk x reader #jjk x you #jjk angst

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therobotsarestuckinmyhead · 1 month ago

Note

Hi, I hope you're doing well! I wanted to make a request—could you write a Transformers Prime headcanon featuring Optimus, Ratchet, and Smokescreen with a Cybertronian reader [male] [platonic]? The reader is a survivor of the war on Cybertron, a young medic who fled the planet after its fall. He managed to take some sparklings with him and has been caring for them ever since

☆ “NEW BASE, NEW FAMILY.”

anon, this is a unique ask and i love it! i haven’t specified the number of sparklings so you can take your pick! also i've never really written a male POV before… it's a new experience so forgive me if its not upto the mark!

including: Optimus, Ratchet, Smokescreen

BACKGROUND:

Your ship, it was a mini battle ship you'd miraculously managed to steal from Decepticons during your more reckless days, it could hold maybe about… what? Ten bots? And you, being the responsible medic you were, made sure to bring aboard sparklings you'd taken pity on. Endless days of drifting in space, scouring for some or the other energon reserves you could get, it's left a toll on you. You look older than you really are and you've begun to understand the senior medics.

The moment you got that message from Optimus asking all Autobots to come to Earth, it was like a Christmas gift, your faceplates immediately lit up— your own supplies were running low and your generosity appointed you the title of Sire to the terrors that run around your ship, you've been nothing short of exhausted and famished, running on energon fumes in your tanks. It's hectic to keep them in line but their joy, their excited faces and giggles is reminiscent of an era where war was far away and getting energon in your tanks was your only concern.

And you hoped that this new refuge that the Autobots had found— Earth, was enough to provide for you and the sparklings you'd basically adopted. The tenants of your ship who live off your generosity. You don't really want to accept fatherhood. After all, you yourself are maybe just a few vorns older than the two young soldiers. Maybe there were other Autobots, older and more experienced that could deal with them…

But you were hopeful too quickly. The moment your ship entered near the orbit, the massive size of The Nemesis made no effort to conceal itself and attempted to shoot you down immediately. However, you were able to establish communications with the Autobot base on Earth within that time; sending coordinates of your impromptu landing so that you and your group could be taken to the Autobots before Vehicon scouts arrived.

OPTIMUS:

— The moment an Autobot distress call reached the console, everyone quickly huddled around. At first, Prime was skeptical there was a chance it could be a cheap Decepticon trick and it wouldn't be the first time they fell for something like that.

— But even if there was a silver chance that it was genuine, Optimus knew he had to go. It was only appropriate for the Prime himself to be there to welcome Autobots that are new to their temporary refuge, Earth.

— Thankfully, he got there before any Vehicon drones. But your ship is busted, it's far too damaged by the fire it's taken from The Nemesis and Prime knows they don't have the resources at hand to fix your ship… You'll unfortunately have to leave it behind and go with him through the ground bridge.

— When the ship door opens, he sees you. You're… not someone he really recognizes. Smokescreen, who was with him, knew you. So Prime didn't have much of an issue.

— He quickly escorted you out of the ship and he saw the sparklings, he was… Shocked to say the least. Their planet's core had died out, they must've been the last few young sparks to crawl out of The Well. His tone turns somber, he doesn't say a word as he's going through the land bridge with you. It had been far too long since he'd seen sparklings.

— Optimus realizes you'd taken them in and a newfound respect for you swells in his spark. You're young, despite the tiredness on your features, he knows you're not as old and despite this, you're taking up such a big responsibility and from how happy the young ones seem to be, you're doing a good job at it too.

— Once at the Autobase, he will introduce you to everyone and then proceed to have Ratchet run a diagnostic on your systems, a routine check up just to make sure you're healthy and fit. Optimus will then proceed to check up on you regularly to make sure you're getting to know the place better and even mingle with the humans.

— One thing he didn't expect is how… absolutely awestruck the sparklings look at him. Like they're amazed by him. They follow him around sometimes with this wide smile but too shy to really ask anything. It makes him smile a bit. You've told stories of Autobots and their heroics so those sparklings idolize him. He isn't sure on what to feel about being idolized.

— But soon enough, he's like a second father. When you can't get them under control, all Optimus has to do is say a word and they behave readily. It makes you crack your neck at him and look very confused; you've been struggling for cycles with them and all Optimus has to do is say a word? Arcee jokes from the side saying “Power of a Prime.” which honestly, just makes you snicker.

— Optimus gives you counsel. He knows you've been through a lot given you were by yourself with some sparklings within a ship that was barely holding itself together in the midst of a war. He will give you solid advice on what to do with your life.

— He starts to make conversation with the sparklings and he's surprisingly good with them. Optimus tells them stories and they sit there with crossed legs, the human children; Raf, Miko and Jack are there too. Raf sitting on one of the sparklings’ knees, Miko sitting on another’s pauldron and Jack leaning against another one’s servo as they all listen. Story time is a pleasant time at the base and soon it becomes routine. But then they all bombard him with questions, it's like he's being interviewed.

— Optimus helps make the parenting part easier, a lot easier. The Prime wonders how you managed for so long. There's a hint of admiration in his tone when he talks about how you managed with sparklings by yourself in space.

— He gently teaches them how to fight. Optimus knows his own strength so he's rather good at teaching them and he's probably the only one that should be allowed to.

— However, he is worried that the sparklings will end up in the crossfires of battle. He appreciates their presence because they light up the base, it's a lot more lively and they get along well with the humans. But they're not allowed to really leave the base because Optimus is more worried about them when it comes to being seen by humans; he knows they can be careless sometimes.

SMOKESCREEN:

— Imagine his surprise when he saw his old buddy that used to give him a quick fix after getting his aft shot at by ‘Cons left and right! He's elated to see you. But also very concerned because holy frag, you've changed... You're almost as grumpy looking as Ratchet! What happened to you?

— And then he sees what happened to you. He literally takes a step back when he sees sparklings. But he is happy, he's got a wide smile. He's no longer the youngest in the group now! Smokescreen is rejoicing.

— The moment you're done with your check-up with Ratchet, Smokescreen makes his appearance to catch up with you. He is younger than you. The first thing he probably says is about how you look like you have rust in your joints like Ratchet to which the medic death-glares at him and Smokes just… nervously chuckles with instant regret.

— Smokescreen is the one that fills you in on the current situation once Optimus is done introducing everyone. He also excitedly shows you and the sparklings around the base.

— He teases you and calls you a ‘Sire’ while you sit there with a scowl on your face. You're too young to be a Sire! You're not accepting that title for the life of you so Smokescreen teasingly calls you a Sire most of the time.

— He's sort of… disappointed with how you've changed though. You're no longer fun-loving and eager like you used to be, it's like the weight of responsibility sucked out the whimsical part of you!

— But don't worry, Smokescreen knows what to do! When the sparklings are engaged with Optimus, he and you go for a quick race or two depending on what story Optimus is closing to say. It doesn't matter if he loses this one though, he just wants his friend to be himself once again.

— He's the fun older brother to the sparklings (Wheeljack is the fun uncle). Smokescreen insists that he can handle the sparklings and takes them out on drives sometimes, only ever on the periphery of Jasper though. You just pray that they're well-behaved because you know damn well Smokescreen will not be able to handle unruly sparklings.

— Also, he teases the sparklings sometimes. They huff and taunt him back. He's getting jumped. Help him. It was a bad idea to make fun of them because now he's being verbally assaulted by a group of children who seem to have no remorse whatsoever. He's losing horribly.

— He also spars with them! Optimus said it's important that they learn how to defend themselves so Smokescreen took the liberty of training them and Optimus hesitantly agreed. But he sort of… messed up once and Optimus sort of… uh… revoked him from that post- But we don't talk about that! Smokescreen does spar with you though and there's no mishaps when that happens.

— He’s surprisingly responsible when it comes to the sparklings’ needs, immediately coming to you when their fuel tanks are low. Also, he would definitely carry one around against their will just because he can. Smokescreen is the fun but annoying older brother, he enjoys annoying them. The sparklings have extremely mixed feelings about him.

— The race car can see how much you've improved since you've come to the Autobase. You're so much happier and calmer. It makes him feel relieved because you looked like a stressed out mess when he and Optimus found you! It's like he's getting glimpses of his old friend again and he's happy with those crumbs.

— He's also in-charge of babysitting duty when you're busy. Smokescreen loathes it but hey, at least the humans are also there with him. Cue human children and Cybertronian sparklings having a cultural exchange.

RATCHET:

— He was the first to see the distress call after Agent Fowler mentioned something about the main console beeping. Ratchet couldn't believe it at first, leaning in closer to make sure he read the data correctly. He called everyone over and informed Optimus immediately about the distress call. He knew that ship… And he hoped, Primus, he hoped it wasn't a trick.

— The second your group along with your escorts; Prime and Smokescreen entered the ground bridge, Ratchet’s face had a rare smile upon recognizing one of his students.

— But then he saw the sparklings excitedly following behind Optimus and his optics widened, his smile fell— not into a frown, he was just surprised. Ratchet hadn't seen sparklings in so very long. The medic is also concerned on whether or not the energon they have in storage will be enough for everyone.

— Oh you poor thing. He can see the tiredness in your optics with how dimly it glows. You're probably running on fumes. He figures he should catch up with you and probably give you a check up, it's not easy to dress your own wounds. He can see your rough patchwork and is quick to chide you for such shabby dressing as he's fixing you up better.

— Ratchet is happy to have another medic around, especially someone he knows and had sort of trained for a short while. You're immediately given the title of Assistant Medical Officer; not because you're necessarily a good medic but because you're the only other one around.

— Despite your skills being rough, Ratchet will hand it to you, you are a resourceful medic which is a lot more beneficial during wartime in his optics. After all, a little bit of practice can help smoothen your skills but resourcefulness comes straight out of your processor.

— The two of you mainly work together. Smokescreen watches over the sparklings as the two of you are busy patching the team up. Your presence also means that Ratchet could go to the field now but before that, Ratchet has to teach you how to operate the ground bridge.

— It's just like old times, Ratchet is teaching you how to use the command module at the console as well as ground bridge control. Since the sparklings are mainly attached to you, its best if you're not the one to get injured. But Ratchet is the more experienced medic. So you and Ratchet take turns staying at base.

— If you're injured, Ratchet is going to repair you quickly because other than you and Optimus, no one in this base knows how to get sparklings under control.

— Speaking of sparklings, Ratchet is like their stern mother. He's scolding them when they don't listen to you and urging them to obey. They're intimidated by Ratchet and they… surprisingly start listening to him. The grumpy medic is baffled himself.

— Ratchet is constantly scolding them when they do something reckless or dangerous. You do check ups on the sparklings but Ratchet also does them sometimes, mostly because he's lost practice with sparklings and should probably reeducate himself. You're teaching your teacher when it comes to sparklings and he appreciates it.

— He does not tolerate talk-back from them! Unlike Smokescreen, Ratchet knows how to use his vocalizer.

— At some point, you look into your servos and realize you're slowly turning into Ratchet after taking in those sparklings…

#transformers #cybertronian reader #transformers x reader #transformers prime #tfp #tfp optimus prime #tfp optimus x reader #optimus prime #optimus prime x reader #tfp smokescreen #transformers smokescreen #smokescreen x reader #ratchet #tfp ratchet #tfp ratchet x reader #ratchet x reader #platonic #male reader

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astrolook · 5 months ago

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Empty Houses in Your Birth Chart: Cosmic Ghost Town or Chill Zone?

So, you’ve been staring at your birth chart and wondering why you have empty houses. Maybe you have no planets in your 7th house (“Am I doomed to die alone?”), or your 2nd house (“Does this mean I’ll be broke forever?”). Relax. Breathe. The universe didn’t just forget to assign you a personality.

Empty houses don’t mean you lack something; they mean you don’t have a planet permanently renting space there. It’s like a fully furnished Airbnb—functional, livable, just not your primary residence. You still experience these areas of life, just without a permanent cosmic tenant making a mess of things.

Empty 1st House - House of Self, Identity, and ‘Main Character Energy’

"Who am I?"

You don’t need planets in your 1st house to have a personality, I promise. If it’s empty, your Rising Sign ruler/lord is the real MVP here—it’s the planet secretly controlling your life like an undercover boss.

It doesn't mean you’re invisible, boring, or lacking an identity. (Come on, even NPCs have a backstory.)

Unlike people with planets here, you’re not out here having existential crises every five minutes.

Empty 2nd House - House of Money, Self-Worth & That Bag 💰

"Will I ever be rich?"

You’re not destined to survive on instant noodles forever. Your financial success comes from the sign ruling this house—not a chaotic planet constantly meddling with your money habits.

Here, money isn’t the biggest stressor in your life (lucky you). You might not define yourself by wealth, but you can still make serious cash.

Empty 3rd House - House of Communication, Siblings & ‘Did You Read the Fine Print?’

"Why do people talk so much?"

No planets here? You don’t have constant mental chatter or an obsession with posting hot takes on Twitter (unlike certain air sign placements). You process information at your own pace, and your Mercury placement tells us how you communicate.

Here it simply mean that you can be a great speaker or writer—just without the need to debate everything to death.

Empty 4th House - House of Family & Emotional Foundations

"Am I emotionally stable or just unbothered?"

If your 4th house is empty, family drama isn’t your core personality trait (looking at you, Cancer moons). Your upbringing shaped you, but your emotions aren’t constantly under siege.

It means you don’t live in your past. Your sense of home and emotional security comes from the ruling sign, not a chaotic planet making things messy.

Empty 5th House - House of Fun, Romance & ‘Oops, I Did It Again’

"Am I doomed to be boring?"

Empty 5th house? You still have fun, fall in love, and make questionable decisions—it’s just not your full-time job. Your creative hobbies, love life, and risk-taking tendencies come from the house ruler, not a planet throwing drama parties.

It means you’re not obsessively seeking attention. You can still be artistic, romantic, and entertaining—you just do it without the theatrics.

Empty 6th House - House of Work, Health & That Annoying Daily Routine

"Do I even have a work ethic?"

No planets in the 6th house? Congrats, you’re not micromanaging your own existence. You handle responsibilities when necessary, but you’re not out here color-coding to-do lists at 3 AM.

It means you’re chill about work and health. You get things done without needing a constant cosmic drill sergeant yelling at you.

Empty 7th House - House of Relationships & ‘Are We Dating or Just Vibing?’

"Am I cursed in love?"

Nope, an empty 7th house doesn’t mean you’re single forever. It just means you’re not obsessed with relationships—your partnerships unfold naturally instead of being your life’s central drama.

It means you don’t overcomplicate love. You attract relationships when the time is right—without planets causing unnecessary chaos.

Empty 8th House -House of Transformation, Sex & ‘What Happens After We Die?’

"Am I missing the ‘mystical and sexy’ gene?"

The 8th house rules deep transformation, shared finances, intimacy, and, well…death. If you have an empty 8th house, does this mean you’re boring and no sexual life? (Spoiler: No.)

It means you’re not haunted by existential crises 24/7 (lucky you). You go through major transformations, but you’re not obsessing over the meaning of life while waiting for your Starbucks order.

You might have a healthy approach to power and intimacy—unlike people with a crowded 8th house, who experience life like a dramatic phoenix constantly combusting.

Empty 9th House -House of Travel, Higher Learning & ‘I’m Moving to Bali’

"Am I allergic to wisdom and adventure?"

This is the house of philosophy, wanderlust, and that one friend who quit their job to find themselves in another country. But if your 9th house is empty, are you doomed to stay in one place forever?

It means you don’t need a crisis to push you into adventure. You explore life when you want, not because a planet is forcing you into a life-changing backpacking trip.

Your beliefs and perspectives expand over time—you just don’t feel the need to become a monk overnight.

Empty 10th House - House of Career, Public Image & ‘Will I Ever Be Successful?’

"Am I a failure?"

An empty 10th house does not mean you’ll spend your life jobless, unknown, or forever stuck in an unpaid internship from hell. The 10th house rules career and legacy, but an empty one means…you don’t obsess over it 24/7.

You can be highly successful—you just don’t need planets constantly pushing you into an identity crisis about it. Your MC ruler tells the real story of your career path.

Some of the most successful people have an empty 10th house—because they’re too busy succeeding to stress over it.

Empty 11th House - House of Friendships, Social Circles & ‘Am I Cool?’

"Do I have no friends?"

An empty 11th house does not mean you’re a loner or the social equivalent of a tumbleweed. You have friends. You just don’t need a cosmic hype squad of planets managing your social life.

It means you don’t rely on social validation to exist. Your friendships are natural and not built on constant drama and chaos.

You attract the right people without forcing it. You don’t need to collect acquaintances like Pokémon cards—you value quality over quantity.

Empty 12th House - House of the Subconscious, Dreams & ‘Main Character in a Spiritual Awakening’

"Am I just…normal?"

If your 12th house is empty, does this mean you lack spiritual depth, psychic visions, and tragic poet energy? Nope. You’re just not drowning in existential dread 24/7, unlike those with a packed 12th house (send them love, they need it).

You’re not haunted by past-life trauma every time Mercury retrogrades. You connect with your spirituality in a way that’s natural and not overwhelming.

Your spiritual growth is steady and not tied to constant suffering. (Honestly, be grateful.)

🌟 Instead of asking ‘What am I lacking?’ ask ‘Where do I flow naturally?’ 🔍 Look at the ruling planet of each empty house—that’s your real guide. 🔥 Transits activate empty houses, so life will still spice things up when needed!

So, next time someone gasps at your empty 7th house (“Oh no, you’ll never find love!”), just laugh—because joke’s on them, you’re living a drama-free life.

Want to understand what your birth chart really says about you? DM me for a reading, and let’s decode your cosmic blueprint together! 🔮✨

Karmic Paths & Soul Purpose: A Complete Guide to the North Nodes & South Nodes in Astrology (13-page report) - $5

Get my full PDF guide for just $5! Payment via PayPal. Once payment is confirmed, I will send you the PDF. It covers North Node & South Node in signs & houses, who you were in your past life, your career, family, love and your relationships in detail. Message me to grab your copy! 🌟

Note : Due to different time zones, I might not reply immediately. Don't worry! Leave me your email address for me to send the password-protected PDF file. Once the payment is confirmed, I will give you the password to access to it.

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ithebookhoarder · 1 year ago

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Could you write an Anthony Bridgerton x wife!reader fic? They are newly weds and the reader wishes to pamper Anthony while he is bathing. He’s a bit cautious about it at first because he is not used to such affection. Thank youu I love your writing a lot especially the truth or dare fic.

In Your Hands (Anthony Bridgerton x Wife!Reader)

A/N: First of all, thank you so much! And I hope you like this. Thanks for sending this ask in, luckily I was already toying with a few Bridgerton ideas thanks to the new trailers so this came surprisingly easy.

Also, if any of you guys enjoy my work, or just feel like it, then consider buying me a cup of coffee here: https://ko-fi.com/ithebookhoarder ☕️

Warnings: Nudity references, the start of sexy-times, alcohol

Masterlist

Anthony was someone who hated routine. After all, as much as he was devoted to the day to day duties that came with being the head of his family, if he had his way he would escape the city and the ton, choosing instead the peace and tranquility offered by the countryside, at Aubrey Hall. He dreamed of being able to be just a brother, son and - as of recently - a husband.

Only married a few months, your new husband was keen to seize each and every opportunity to escape his duties when they appeared - whether it was sneaking off for long rides in the countryside, or making an early exit from whatever social gathering you both had been forced to attend as the new Viscount and Viscountess Bridgerton; Whatever allowed you both to be alone and back in one another’s arms (usually sans clothes) as soon as possible, was a good idea to him.

It was no surprise then, that there was one part of his daily routine that Anthony actually relished: bathing.

Oh, yes. There was little more in the world that could bring your fully-grown husband such child-like joy as being able to soak in a tub of steaming hot water for an hour or two. The sight always made you smile as you entered your bedroom: Anthony, half asleep, looking as if the stress had physically melted away.

It was your favourite sight - and not just because of the exquisite view it granted you of his sculpted form - but because of how calm and peaceful he looked. It was as if he had transformed back into the mischievous and carefree boy you’d first fallen in love with all those years ago. Back when your only concerns had been not tripping on your skirt at your presentation, making sure you were actually asked to dance at a ball, and surviving the social season without embarrassing your family or getting yourself roped into some scandal.

Whilst you knew neither you nor Anthony would ever change a single thing about your life together, you knew it came with a cost. In fact, today it had been enduring hours of talks with local tenants, the family’s book keeper, estate managers, and even several possible suitors looking to secure some kind of marriage contract with one of his younger sisters. (You’d been informed by several members of the household staff that those meetings had been remarkably swift, however, with each unfortunate man looking rather dejected as they were shown from the house).

If you’d been able to spare him the pain or share his burden you would have, but unfortunately you’d been occupied with matters of your own. Being the lady of such a grand estate came with duties of its own, and you were quite done looking over seating arrangements, replying to correspondence, and paying social calls for one day.

Still, at least you’d both survived to tell the tale - no wonder Anthony looked half asleep. Then again, maybe it had something to do with the open bottle of whiskey that sat on the table beside the tub. You knew without looking at the label which bottle it was, having smuggled it out of the library yourself to enjoy together.

“Anthony Bridgerton!” A fake gasp of horror escaped your lips as you appeared in the doorway, a hand pressed to your chest. “You are a sneak and a traitor. That whiskey was for me too, you know.”

“And a good evening to you too, my love. Never fear, there’s plenty to share,” he teased, head relaxed, tipped backward as he took a sip from the glass in his hand. Your eyes were transfixed on the hollow of his throat, watching his Adam’s apple bob as he swallowed. “Besides, I would apologise but I simply couldn’t wait a minute longer. Not when I couldn’t feel my back from sitting at that desk all afternoon.”

The moan that escaped his lips was almost sinful as he sank a little lower in the water.

“Well, you’re forgiven. You look far too content for me to even dream of being mad,” you sighed, drawing close and perching on the rim of the tub. Anthony handed over the whiskey glass with a soft smile, letting you take a sip of your own before you placed it back onto the table.

You could feel the warmth seep into your bones immediately, even if that was also likely in part to your proximity to the tub and your naked husband.

“Do you want me to wash your hair?”

Anthony’s eyebrows rose at the question, the surprise written across his face. “What?”

“You heard me,” you teased, reaching up to run your fingers through the soft strands of hair atop his head. “I can wash your hair, and get your back for you. Unless you’d rather do it yourself, or I can ring for someone?”

“What? No, that’s uh, that’s not necessary,” he chuckled, visibly flustered - which was amusing and perplexing. After all, it wasn’t as if you two hadn’t seen and touched every single inch of the other in the weeks since your wedding. However, he looked almost confused at the idea that you would offer such a thing. “You don’t have to do that.”

“But I want to,” you soothed. “Let me take care of you, for once. Husband.”

It was probably below the belt to purr his title like that, but you knew how that one little word had the power to reduce the great Viscount Bridgerton to a puddle. That, along with the warmth of the water and the buzz of the whiskey, made him almost pliant to your every whim. Still, you knew him well enough to recognise the lingering hesitation in his eyes as he nodded in agreement.

He very rarely let his guard down or allowed anyone to assist him in any way. You sometimes believed that had the servants not been dependant upon their work to make a living that Anthony would have dismissed them long ago and tried to run the entire estate single handedly just to prove he could. That he was worthy of the title he bore, and that he was every bit as great a man, brother, and husband as his father.

It appeared he was the same way when it came to letting himself be taken care of and it made your heart ache for the man you loved.

Pressing a triumphant kiss to his lips, you swiftly manoeuvred yourself, pulling up a stool and grabbing a jug from the dresser.

“Just relax… trust me,” you murmured, waiting until he did as he was bid. The gesture alone said volumes, more so than any words ever could.

Waiting until his eyes were shut, you reached for the soap, tilting his head against your chest as you began to massage the mixture into his scalp. Yet again, your husband seemed to transform into a cat, purring with every touch in a way that made it suddenly very difficult to resist the urge to strip off and join your husband in the water instead.

“Enjoying yourself?” You giggled as Anthony barely managed more than a groan in reply.

It was taking every ounce of your self control to focus your attentions solely on Anthony, and not on the way his body seemed to be reacting to your ministrations. Thankfully, you were able to last long enough to finish the job, using the jug to rinse the water through his hair, making sure to angle his head upwards so the water ran off him instead of into his eyes.

But you were only human; the minute you were done washing the last suds from his scalp you made your move. Sliding off the stool, you knelt beside him and reached out to caress his cheek, causing him to open his eyes almost sleepily. Leaning forward you planted a soft, delicate kiss to his lips, causing him to groan in response.

Without saying a word, his hands rose, twisting their way into your hair as he deepened his kiss. It was clear what he wanted next.

“Now, wife,” he growled, pulling back just long enough to reach down and tug teasingly at the tie of your dress-robe. You could feel the warmth of his touch as his wet body began to dampen the material. “I think it’s your turn to let me take care of you… so you’d better get in here, before I drag you in here.”

#ithebookhoarder #masterlist #thesilentmage #anthony bridgerton x reader #bridgerton x reader #anthony bridgerton x you #anthony bridgerton #bridgerton netflix #bridgerton fanfiction #jonathan bailey #Bridgerton

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mostlysignssomeportents · 1 year ago

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Podcasting “Capitalists Hate Capitalism”

I'm touring my new, nationally bestselling novel The Bezzle! Catch me in Torino (Apr 21) Marin County (Apr 27), Winnipeg (May 2), Calgary (May 3), Vancouver (May 4), and beyond!

This week on my podcast, I read "Capitalists Hate Capitalism," my latest column for Locus Magazine:

https://locusmag.com/2024/03/cory-doctorow-capitalists-hate-capitalism/

What do I mean by "capitalists hate capitalism?" It all comes down to the difference between "profits" and "rents." A capitalist takes capital (money, or the things you can buy with it) and combines it with employees' labor, and generates profits (the capitalist's share) and wages (the workers' share).

Rents, meanwhile, come from owning an asset that capitalists need to generate profits. For example, a landlord who rents a storefront to a coffee shop extracts rent from the capitalist who owns the coffee shop. Meanwhile, the capitalist who owns the cafe extracts profits from the baristas' labor.

Capitalists' founding philosophers like Adam Smith hated rents. Worse: rents were the most important source of income at the time of capitalism's founding. Feudal lords owned great swathes of land, and there were armies of serfs who were bound to that land – it was illegal for them to leave it. The serfs owed rent to lords, and so they worked the land in order grow crops and raise livestock that they handed over the to lord as rent for the land they weren't allowed to leave.

Capitalists, meanwhile, wanted to turn that land into grazing territory for sheep as a source of wool for the "dark, Satanic mills" of the industrial revolution. They wanted the serfs to be kicked off their land so that they would become "free labor" that could be hired to work in those factories.

For the founders of capitalism, a "free market" wasn't free from regulation, it was free from rents, and "free labor" came from workers who were free to leave the estates where they were born – but also free to starve unless they took a job with the capitalists.

For capitalism's philosophers, free markets and free labor weren't just a source of profits, they were also a source of virtue. Capitalists – unlike lords – had to worry about competition from one another. They had to make better goods at lower prices, lest their customers take their business elsewhere; and they had to offer higher pay and better conditions, lest their "free labor" take a job elsewhere.

This means that capitalists are haunted by the fear of losing everything, and that fear acts as a goad, driving them to find ways to make everything better for everyone: better, cheaper products that benefit shoppers; and better-paid, safer jobs that benefit workers. For Smith, capitalism is alchemy, a philosopher's stone that transforms the base metal of greed into the gold of public spiritedness.

By contrast, rentiers are insulated from competition. Their workers are bound to the land, and must toil to pay the rent no matter whether they are treated well or abused. The rent rolls in reliably, without the lord having to invest in new, better ways to bring in the harvest. It's a good life (for the lord).

Think of that coffee-shop again: if a better cafe opens across the street, the owner can lose it all, as their customers and workers switch allegiance. But for the landlord, the failure of his capitalist tenant is a feature, not a bug. Once the cafe goes bust, the landlord gets a newly vacant storefront on the same block as the hot new coffee shop that can be rented out at even higher rates to another capitalist who tries his luck.

The industrial revolution wasn't just the triumph of automation over craft processes, nor the triumph of factory owners over weavers. It was also the triumph of profits over rents. The transformation of hereditary estates worked by serfs into part of the supply chain for textile mills was attended by – and contributed to – the political ascendancy of capitalists over rentiers.

Now, obviously, capitalism didn't end rents – just as feudalism didn't require the total absence of profits. Under feudalism, capitalists still extracted profits from capital and labor; and under capitalism, rentiers still extracted rents from assets that capitalists and workers paid them to use.

The difference comes in the way that conflicts between profits and rents were resolved. Feudalism is a system where rents triumph over profits, and capitalism is a system where profits triumph over rents.

It's conflict that tells you what really matters. You love your family, but they drive you crazy. If you side with your family over your friends – even when your friends might be right and your family's probably wrong – then you value your family more than your friends. That doesn't mean you don't value your friends – it means that you value them less than your family.

Conflict is a reliable way to know whether or not you're a leftist. As Steven Brust says, the way to distinguish a leftist is to ask "What's more important, human rights, or property rights?" If you answer "Property rights are human right," you're not a leftist. Leftists don't necessarily oppose all property rights – they just think they're less important than human rights.

Think of conflicts between property rights and human rights: the grocer who deliberately renders leftover food inedible before putting it in the dumpster to ensure that hungry people can't eat it, or the landlord who keeps an apartment empty while a homeless person freezes to death on its doorstep. You don't have to say "No one can own food or a home" to say, "in these cases, property rights are interfering with human rights, so they should be overridden." For leftists property rights can be a means to human rights (like revolutionary land reformers who give peasants title to the lands they work), but where property rights interfere with human rights, they are set aside.

In his 2023 book Technofeudalism, Yanis Varoufakis claims that capitalism has given way to a new feudalism – that capitalism was a transitional phase between feudalism…and feudalism:

https://pluralistic.net/2023/09/28/cloudalists/#cloud-capital

Varoufakis's point isn't that capitalists have gone extinct. Rather, it's that today, conflicts between capital and assets – between rents and profits – reliably end with a victory of rent over profit.

Think of Amazon: the "everything store" appears to be a vast bazaar, a flea-market whose stalls are all operated by independent capitalists who decide what to sell, how to price it, and then compete to tempt shoppers. In reality, though, the whole system is owned by a single feudalist, who extracts 51% from every dollar those merchants take in, and decides who can sell, and what they can sell, and at what price, and whether anyone can even see it:

https://pluralistic.net/2024/03/01/managerial-discretion/#junk-fees

Or consider the patent trolls of the Eastern District of Texas. These "companies" are invisible and produce nothing. They consist solely of a serviced mailbox in a dusty, uninhabited office-building, and an overbroad patent (say, a patent on "tapping on a screen with your finger") issued by the US Patent and Trademark Office. These companies extract hundreds of millions of dollars from Apple, Google, Samsung for violating these patents. In other words, the government steps in and takes vast profits generated through productive activity by companies that make phones, and turns that money over as rent paid to unproductive companies whose sole "product" is lawsuits. It's the triumph of rent over profit.

Capitalists hate capitalism. All capitalists would rather extract rents than profits, because rents are insulated from competition. The merchants who sell on Jeff Bezos's Amazon (or open a cafe in a landlord's storefront, or license a foolish smartphone patent) bear all the risk. The landlords – of Amazon, the storefront, or the patent – get paid whether or not that risk pays off.

This is why Google, Apple and Samsung also have vast digital estates that they rent out to capitalists – everything from app stores to patent portfolios. They would much rather be in the business of renting things out to capitalists than competing with capitalists.

Hence that famous Adam Smith quote: "People of the same trade seldom meet together, even for merriment and diversion, but the conversation ends in a conspiracy against the public, or in some contrivance to raise prices." This is literally what Google and Meta do:

https://en.wikipedia.org/wiki/Jedi_Blue

And it's what Apple and Google do:

https://www.theverge.com/2023/10/27/23934961/google-antitrust-trial-defaults-search-deal-26-3-billion

Why compete with one another when you can collude, like feudal lords with adjacent estates who trust one another to return any serf they catch trying to sneak away in the dead of night?

Because of course, it's not just "free markets" that have been captured by rents ("Competition is for losers" -P. Thiel) – it's also "free labor." For years, the largest tech and entertainment companies in America illegally colluded on a "no poach" agreement not to hire one-anothers' employees:

https://techcrunch.com/2015/09/03/apple-google-other-silicon-valley-tech-giants-ordered-to-pay-415m-in-no-poaching-suit/

These companies were bitter competitors – as were these sectors. Even as Big Content was lobbying for farcical copyright law expansions and vowing to capture Big Tech, all these companies on both sides were able to set aside their differences and collude to bind their free workers to their estates and end the "wasteful competition" to secure their labor.

Of course, this is even more pronounced at the bottom of the labor market, where noncompete "agreements" are the norm. The median American worker bound by a noncompete is a fast-food worker whose employer can wield the power of the state to prevent that worker from leaving behind the Wendy's cash-register to make $0.25/hour more at the McDonald's fry trap across the street:

https://pluralistic.net/2022/02/02/its-the-economy-stupid/#neofeudal

Employers defend this as necessary to secure their investment in training their workers and to ensure the integrity of their trade secrets. But why should their investments be protected? Capitalism is about risk, and the fear that accompanies risk – fear that drives capitalists to innovate, which creates the public benefit that is the moral justification for capitalism.

Capitalists hate capitalism. They don't want free labor – they want labor bound to the land. Capitalists benefit from free labor: if you have a better company, you can tempt away the best workers and cause your inferior rival to fail. But feudalists benefit from un-free labor, from tricks like "bondage fees" that force workers to pay in order to quit their jobs:

https://pluralistic.net/2023/04/21/bondage-fees/#doorman-building

Companies like Petsmart use "training repayment agreement provisions" (TRAPs) to keep low-waged workers from leaving for better employers. Petsmart says it costs $5,500 to train a pet-groomer, and if that worker is fired, laid off, or quits less than two years, they have to pay that amount to Petsmart:

https://pluralistic.net/2022/08/04/its-a-trap/#a-little-on-the-nose

Now, Petsmart is full of shit here. The "four-week training course" Petsmart claims is worth $5,500 actually only lasts for three weeks. What's more, the "training" consists of sweeping the floor and doing other low-level chores for three weeks, without pay.

But even if Petsmart were to give $5,500 worth of training to every pet-groomer, this would still be bullshit. Why should the worker bear the risk of Petsmart making a bad investment in their training? Under capitalism, risks justify rewards. Petsmart's argument for charging $50 to groom your dog and paying the groomer $15 for the job is that they took $35 worth of risk. But some of that risk is being borne by the worker – they're the ones footing the bill for the training.

For Petsmart – as for all feudalists – a worker (with all the attendant risks) can be turned into an asset, something that isn't subject to competition. Petsmart doesn't have to retain workers through superior pay and conditions – they can use the state's contract-enforcement mechanism instead.

Capitalists hate capitalism, but they love feudalism. Sure, they dress this up by claiming that governmental de-risking spurs investment: "Who would pay to train a pet-groomer if that worker could walk out the next day and shave dogs for some competing shop?"

But this is obvious nonsense. Think of Silicon Valley: high tech is the most "IP-intensive" of all industries, the sector that has had to compete most fiercely for skilled labor. And yet, Silicon Valley is in California, where noncompetes are illegal. Every single successful Silicon Valley company has thrived in an environment in which their skilled workers can walk out the door at any time and take a job with a rival company.

There's no indication that the risk of free labor prevents investment. Think of AI, the biggest investment bubble in human history. All the major AI companies are in jurisdictions where noncompetes are illegal. Anthropic – OpenAI's most serious competitor – was founded by a sister/brother team who quit senior roles at OpenAI and founded a direct competitor. No one can claim with a straight face that OpenAI is now unable to raise capital on favorable terms.

What's more, when OpenAI founder Sam Altman was forced out by his board, Microsoft offered to hire him – and 700 other OpenAI personnel – to found an OpenAI competitor. When Altman returned to the company, Microsoft invested more money in OpenAI, despite their intimate understanding that anyone could hire away the company's founder and all of its top technical staff at any time.

The idea that the departure of the Burger King trade secrets locked up in its workers' heads constitute more of a risk to the ability to operate a hamburger restaurant than the departure of the entire technical staff of OpenAI is obvious nonsense. Noncompetes aren't a way to make it possible to run a business – they're a way to make it easy to run a business, by eliminating competition and pushing the risk onto employees.

Because capitalists hate capitalism. And who can blame them? Who wouldn't prefer a life with less risk to one where you have to constantly look over your shoulder for competitors who've found a way to make a superior offer to your customers and workers?

This is why businesses are so excited about securing "IP" – that is, a government-backed right to control your workers, customers, competitors or critics:

https://locusmag.com/2020/09/cory-doctorow-ip/

The argument for every IP right expansion is the same: "Who would invest in creating something new without the assurance that someone else wouldn’t copy and improve on it and put them out of business?"

That was the argument raised five years ago, during the (mercifully brief) mania for genre writers seeking trademarks on common tropes. There was the romance writer who got a trademark on the word "cocky" in book titles:

https://www.theverge.com/2018/7/16/17566276/cockygate-amazon-kindle-unlimited-algorithm-self-published-romance-novel-cabal

And the fantasy writer who wanted a trademark on "dragon slayer" in fantasy novel titles:

https://memex.craphound.com/2018/06/14/son-of-cocky-a-writer-is-trying-to-trademark-dragon-slayer-for-fantasy-novels/

Who subsequently sought a trademark on any book cover featuring a person holding a weapon:

https://memex.craphound.com/2018/07/19/trademark-troll-who-claims-to-own-dragon-slayer-now-wants-exclusive-rights-to-book-covers-where-someone-is-holding-a-weapon/

For these would-be rentiers, the logic was the same: "Why would I write a book about a dragon-slayer if I could lose readers to someone else who writes a book about dragon-slayers?"

In these cases, the USPTO denied or rescinded its trademarks. Profits triumphed over rents. But increasingly, rents are triumphing over profits, and rent-extraction is celebrated as "smart business," while profits are for suckers, only slightly preferable to "wages" (the worst way to get paid under both capitalism and feudalism).

That's what's behind all the talk about "passive income" – that's just a euphemism for "rent." It's what Douglas Rushkoff is referring to in Survival of the Richest when he talks about the wealthy wanting to "go meta":

https://pluralistic.net/2022/09/13/collapse-porn/#collapse-porn

Don't drive a cab – go meta and buy a medallion. Don't buy a medallion, go meta and found Uber. Don't found Uber, go meta and invest in Uber. Don't invest in Uber, go meta and buy options on Uber stock. Don't buy Uber stock options, go meta and buy derivatives of options on Uber stock.

"Going meta" means distancing yourself from capitalism – from income derived from profits, from competition, from risk – and cozying up to feudalism.

Capitalists have always hated capitalism. The owners of the dark Satanic mills wanted peasants turned off the land and converted into "free labor" – but they also kidnapped Napoleonic war-orphans and indentured them to ten-year terms of service, which was all you could get out of a child's body before it was ruined for further work:

https://pluralistic.net/2023/09/26/enochs-hammer/#thats-fronkonsteen

When Varoufakis says we've entered a new feudal age, he doesn't mean that we've abolished capitalism. He means that – for the first time in centuries – when rents go to war against profits – the rents almost always emerge victorious.

Here's the podcast episode:

https://craphound.com/news/2024/04/14/capitalists-hate-capitalism/

Here's a direct link to the MP3 (hosting courtesy of the Internet Archive; they'll host your stuff for free, forever):

https://archive.org/download/Cory_Doctorow_Podcast_465/Cory_Doctorow_Podcast_465_-_Capitalists_Hate_Capitalism.mp3

And here's the RSS feed for my podcast:

http://feeds.feedburner.com/doctorow_podcast

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/04/18/in-extremis-veritas/#the-winnah

#pluralistic #technofeudalism #yanis varoufakis #rents #profits #economics #podcasts #locus magazine #mp3s

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lassieposting · 2 years ago

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Been thinkin about Astarion + vampire biology so have some headcanons and the bits of game lore they're based on

Dialogue establishes that Cazador has been successfully passing himself off as a regular noble for centuries, and Astarion confirms that while he's considered a bit reclusive, he does mingle with the upper class of Baldur's Gate and has a property specifically for hosting fancy events.

Vampires are camouflage predators, whose primary hunting strategy is to blend in with their prey until the perfect time to strike. Their ecological niche is not a particularly safe or stable one - they live hidden in plain sight, usually in sizeable cities, for easy access to prey, but they know that if they are discovered they will be rooted out and killed or driven away. They are rarely able to get away with attacking in public, where city guards might rush to the aid of a screaming victim - they have to isolate their target before killing it. The ability to blend in, to be overlooked by their target, until it is too late is essential.

Cazador is, as far as we know, the only true vampire in Baldur's Gate

This is because true vampires are aggressively territorial. Like most apex predators, they eat a lot, and need substantial territories to support them - even moreso if they have a partner or spawns. Ascendant!Astarion would need to hold onto the entire city, as Cazador did, to be able to feed himself and Tav without raising suspicion.

True vampires are relatively rare, but there are more of them than there are cities, so it's not uncommon for one to set up in an occupied city and try to oust the sitting resident. The challenger usually believes himself to be as strong or stronger than the current tenant: these territorial disputes usually end in at least one death, so they're not to be entered into lightly.

Astarion is very obviously a vampire: his fangs are visible, as are his bite scars; he's so pale multiple people comment on it; his eyes are red, etc.

Astarion is not a healthy vampire.

This is a man who has been kept on the knife's edge of starvation and tortured regularly for 200 years, and to another vampire, that would be clear from the state of him: Astarion is a camouflage predator who is so malnourished he is no longer able to blend in.

Tav will get an up-close look at his transformation over the course of the game and during the years afterwards: the more healthy and well-fed Astarion becomes, as his body catches up on its immense energy deficit and begins to recover, the better he will be able to mimic a living elf. His skin will be able to bleed, or blush, or bruise, none of which he's capable of while actively starving. Hia fangs will retract until he needs them, not invisible but less obvious - having them out all the time is a response to severe deprivation; he's so hungry his body can't risk losing prey to the split second it takes Cazador to snatch a rat back, so he's permanently in bite mode, hyperaware, ready to strike. Some body functions will come online that he didn't even know he had, the ones that are supposed to help him blend in - his eyes will start producing pigment to look darker, less scarlet and more burgundy, to be more easily mistaken for brown; his lungs will make him breathe automatically even though he doesn't need it, he'll start being able to eat normal food without getting sick again, though he still won't get any nourishment from it; he'll heal faster. He'll even be able to get drunk, though he'll burn through it very quickly. As it stands, all those extra systems have been shut down by his starving body - they're useful, but nonessential, and he needs every single bit of energy funnelled into just keeping him alive and functional.

There is probably an intentional bit of psychological warfare against the spawns on Cazador's part here - him starving them strips them of their natural defences, and every time he makes them leave the mansion to hunt, they have to do so knowing that they're poorly hidden and vulnerable. But it's established that true vampires treating their spawn poorly or outright abusing them is A Thing, so it's not the only reason - he sees them as property rather than people, he keeps them weak so they won't plot against him, he's acting out his own trauma from Vellioth on them, he just wants to - but it does feed into it.

Astarion can, at one point, identify old blood as belonging to the player character. He also gets excited at another point if an enemy character runs away, stating, "Now it's a hunt."

He says that "even stale, [he'd] recognise that bouquet anywhere." This confirms a few things for us:

He has a vastly superior sense of smell capable of identifying individuals by scent and - since he can tell who the blood belongs to even after some time has passed - following scent trails.

This confirms that although city-dwelling vampires may primarily hunt via luring a victim to a secondary location before killing it, they still have the "stalk down and chase" predator instinct. Since Astarion can't lure wildlife anywhere, this is almost certainly how he's been hunting to supplement his diet when he's not using the player as his personal caprisun.

The fact that he can scent out prey before killing it means he has this ability all the time - he can smell blood while it's still safely inside the owner's body.

So scent is probably relevant to how vampires process the world. The more time each companion spends with him, the more he gets used to their scent, starts associating it more with safety and camaraderie than with a potential meal, and so he becomes more relaxed around them. As he learns to link the player's scent with love and comfort and trust, the more likely he is to retreat to their tent over his own when he's injured or afraid or having a trauma moment. When he's fond of someone, something of theirs will go conveniently missing - he's moving their scent into his little safe space, it's comforting for him. He can tell when his lover is hurt or aroused or frightened - though not which of the three applies - from a distance, because his sense of smell can pick up the spike of adrenaline rushing into their bloodstream.

But that also means that he can never feel like he's got any distance from Cazador while he's living in the mansion - even if the man isn't in the same room, the entire place reeks of him, and it makes Astarion feel like Cazador is breathing down his neck all the same. Ascendant Astarion would have a really, really hard time sticking it out in that mansion with stale Eau de Cazador all over the place. It means that he's put instantly on edge by the faint scent of one of his siblings as he walks through the lower city - when seven vicious, territorial apex predators are confined to a single small dormitory, several hours a day, seven days a week, 365 days a year, fights are going to be nasty and frequent, and although Cazador wouldn't allow them to kill each other, considering how many of his siblings refer to him as weak or a runt, Astarion probably didn't win them very often. So. Having a highkey advanced sense of smell is a mixed bag.

#bg3 #bg3 headcanons #astarion ancunin #astarion #cazador szarr #idk if this conflicts with existing dnd lore and idc welcome to the silly zone

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screamlet · 4 months ago

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new fic: post 8x09-10 coda

my contribution to the "tommy shows up at eddie's place and finds buck there" collection. also on the ao3.

bucktommy / hopeful ending / 1k

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Buck thought about becoming a cyclist a few years ago. Like, as a personality trait. Like he thought he'd get really into biking on his off days, ride for miles and miles, maybe do some of those super long 50-mile races people allegedly did. Getting a newish start at Eddie's old place means taking his fancy bike out of storage and deciding whether it should come with him.

He starts riding and it's not exactly transformative, and he feels a little silly thinking it would be. But he keeps to it because, what, does he have anything else to do? Eddie's settling into his new house and working on his family (not just Chris, but all of his family) and everyone else in his life has their own families, and Buck has his bike. And running shoes. Maybe he should take up running instead. Or build a home gym, like Tommy has. Had. Has. He's not sure about the state of his home gym.

That also feels dumb, though, since Eddie told prospective tenants over and over again that there was a bustling suburban downtown area with a great gym that had reasonable membership prices, and honestly maybe at this point Buck should think about moving out of LA, too. At least when he lived in the Jeep and traveled all over, he met lots of new and different people who made time for him for a little while, and he'd be on the road before they could really lose interest in him and let him go.

"Are you crying?"

Buck's sitting on the front step of Eddie's house and rubbing at his eyes but, yeah, he might have been crying. Now he's definitely crying in front of Tommy, who's standing on the lawn with his hands on his hips. They stare at each other for a minute, like Tommy's waiting for an answer and as if Buck isn't obviously answering him.

"Feeling a little lonely, Tommy. How about you?" Buck leans on his knees and musters a smile. "What are you doing here anyway?"

Tommy takes another long moment to answer, but Buck's got nowhere else to be so he can wait him out. Wait, he lives here now; he literally has nowhere else to be.

"Eddie said his subletter wouldn't move in for a few more days but he thought he left the back door unlocked. Did he tell you the same thing?" Tommy raises his eyebrows. "Cute little scheme to get us to run into each other?"

Buck claps his hands. "I'm the subletter."

Tommy looks surprised, but tries to hide it. "And is the back door closed?"

"I'll find out." Buck, hollowed out, smiles again. "Need anything else?"

A beat. A long one, again. "I've been lonely, too."

"Really?" Buck asks. "With your karaoke trivia and—"

"I've been lonely, too," Tommy repeats.

Buck's less hollow now; a drop of pity for Tommy has hit the bottom of the bucket.

"Wanna sit with me? Be less lonely?" Buck clears his throat. "Eddie told you he was moving, right?"

"He did." Tommy comes closer. "Said he didn't need any help, though, so I didn't come by. Had all the help he needed. Did you guys have a going away thing?"

A wave of pity rolls into the bucket.

"It was really last minute," Buck says.

"Yep. I get it."

There's enough space, for sure, but Buck edges to one side of the step anyway. "There's space for you."

"That's okay." Tommy's lips are a fine line before they quirk into a smile. "I don't need the pity."

"Too bad," Buck replies. "I went and got too much for myself and there's leftovers with your name on them."

Tommy rolls his eyes, but he's smiling. He sighs loudly, playfully, then comes and sits next to Buck on the step. He asks, "You doing okay?"

"I mean, my pregnant sister got kidnapped and my best friend moved to another state and I moved out of my apartment that I've been in for five years and I still miss my ex-boyfriend but other than that. Yeah, just fine." Buck clears his throat and points to his bike. "Do I seem like a cyclist to you? Like could you see me really getting into biking?"

"I think if you want something, nothing will stop you," Tommy says. "If you want to date a guy and never have before, you're gonna date a guy. If you wanna learn everything about a dead cowboy and then give him a respectful funeral while you're covered in boils, you will. If you—Eddie gave me like five different lemon and walnut and cranberry-orange loaves before he left and he said you made them? You just like, started a baking side gig or something? Did you want to do that, too, or did it just happen to you?"

"Oh, that." Buck has been blushing as Tommy talked, ducking his head to hide it, shying away, but Tommy's leaned in like he has to make sure Buck doesn't miss a word. "I started baking after we broke up. It was a good distraction."

"Five—"

"You came at the tail end, honestly, you missed a whole bakery's worth over the holidays." Buck looks at him. "What have you been doing?"

"Me, well. I bought another car I could start restoring. I repainted my porch and the fence. Took up yoga because, I don't know, wasn't feeling that flexible anymore. Uh." Tommy motions to the bike. "Also thought about biking because who doesn't want to pedal away from their problems, right?"

Buck asks, "What's your schedule look like? Did you actually buy a bike? Want to go on a ride? I know a place that does rentals."

"Buck, I don't know."

He wants to howl and correct him (Evan) but he keeps his mouth shut.

"Just an offer," Buck says. "I'm gonna head in now. Do you want water or something before you head back?"

Tommy doesn't make a move until Buck does, standing up from the steps and brushing off the back of his jeans. "If you're free..."

Buck raises his eyebrows.

"I'm free," Tommy says. "There's a bottle shop like 10 minutes away, if—maybe we could have a drink here? I don't know if you've already christened your new house or anything."

Buck grins. "Have I had a beer here? Yeah, I have. But—but that sounds nice. I can order a pizza if you're hungry. I'm starving."

"Yeah, that sounds nice." Tommy takes a few steps back to the truck. "I'll be back. Promise."

That little promise makes him ache. "No IPAs, please."

"I remember." Tommy watches him for a moment from the driver's side, then climbs into the truck and starts it up. Buck steps inside and shuts the door. He knows Tommy will be back.

#911 fic #bucktommy fic #bucktommy #my writing #my fic #tevan #tevan fic #kinley #kinley fic #it's a monday and work is so excruciatingly slow #have this

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literaryvein-reblogs · 1 year ago

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Writing Notes: Horror

Horror is a genre within creative writing that relies on one thing: instilling a sense of fear in the reader.

The horror genre is multifaceted—there is a kind of horror for every kind of person.

For some, the most effective scare is the idea of being trapped in a haunted house. For others, it’s being chased by a serial killer on Halloween.

Some of the best horror comes from scary things that can manipulate an audience’s feelings, creating a sensation of uneasiness and fear that stretches beyond consciousness and permeates deep within the psyche.

Horror writing is sometimes categorized within the broader category of thrillers, but not all horror follows the thriller structure.

Classic horror fiction—whether expressed as a novel, novella, short story, or film—will tap into topics that reliably frighten most humans.

Common topics include ghosts, werewolves, vampires, zombies, serial killers, murderers, and the fear of the unknown.

These horror tropes can often devolve into clichés.

A downside of horror’s popularity is that many horror books and movies recycle old content in non-creative ways, but when properly executed, horror stories can thrill audiences and even provide commentary on the human condition.

Horror Subgenres

1. Apocalyptic - In this subgenre, the world is ending or society is collapsing. When this happens, it’s usually because of some creature, demon, or religious event (while climate-oriented apocalypses are more sci-fi).

2. Body Horror - Involves the mutilation, experimentation, or violation of the human body. It can focus on disease, dismemberment, infestation, sexual acts, or a complete transformation of the physical form.

3. Comedy - Horror and comedy seem so at odds with each other, but they work so well together (kind of like spice and chocolate). A trademark of comedy horror is how the protagonist somewhat stumbles through the story, arriving at the end through luck and ridiculous happenstance rather than skill or growth.

4. Cosmic/Lovecraftian - With its origins largely attributed to H.P. Lovecraft, cosmic horror makes us feel small against a threat that is ancient, massive, and incomprehensible. Cosmic horror looks at intergalactic entities, ancient gods, the machinations of the universe, and how helpless we are against it all.

5. Dark Fantasy - Another crossover, this time with the fantasy genre. In dark fantasy, you have elements of magic, fictional creatures or worlds, and everything else that makes fantasy great, plus you add in a good dose of scares. This can also involve other subgenres, like body horror.

6. Dark Romance - Another crossover genre, dark romance takes the feel-good romance genre and makes it horrific. While this subgenre can simply include morally questionable characters and a grittier tone than most romance, it can also include kidnapping, forced confinement, BDSM, psychological and physical abuse, and sexual violence or sex where there is no consent. Bear in mind that it still needs to include the tenants of romance stories, though.

7. Extreme Gore - Not for the faint of heart, this subgenre includes books that have detailed torture scenes or otherwise disturbing and depraved acts. This genre is all about shocking your audience with how awful your characters act or are treated.

8. Folk Horror - Embraces urban legends and folktales. These range from old pagan gods in the woods to weird rituals performed by isolated groups or villages. Sometimes there is a supernatural element to them, even if the “supernatural” is simply perceived or believed by some characters (e.g., Midsommar).

9. Found Footage/Documentaries - Though this subgenre is more common in films than books, found footage and documentary horror stories are about a crew of people recording their experiences, usually unaware of the true danger they are about to face.

10. Gothic - The great-grandparent of modern horror, gothic horror is the brooding, atmospheric genre containing what most of us would consider classics (e.g., Dracula and Frankenstein). Sometimes you throw in a dash of romance, but these tales tackle topics like death and mortality.

11. Post-Apocalyptic - After some world-ending disaster, how horrifying have things become? Post-apocalyptic horror shows us a world without rules or structure. It can contain unrealistic elements (zombies, demons, etc.) or realistic possibilities (cannibals, gangs, and so on).

12. Psychological - Places the spotlight on trauma, mental health, manipulation, phobias, and everything else that causes you to become stressed and anxious. Home invasion stories (i.e., The Strangers) fall under this subgenre.

13. Slasher - Involves violent horror that is more about a single killer stalking and eventually killing a group of people (traditionally targeting teens and using a blade). This subgenre isn’t necessarily as violent or gory as others, but uses suspense to make the reader hold their breath.

14. Splatterpunk - Is known for its disregard of limits when it comes to violence—both physical and sexual. Gore and depravity are grossly abundant.

15. Supernatural/Paranormal - Some folks separate these two subgenres into different categories, but there is so much overlap that they’re basically the same. If you have to, think of supernatural horror as stories that involve werewolves, witches, vampires, and other monsters. Paranormal horror, on the other hand, involves ghosts, demons, and haunted houses.

Tips for Writing Horror

1. Read more horror. There’s no better way to understand what a good story looks like than to read one for yourself. Read as much as you can so you are aware of what other horror writers are doing.

2. Focus on your own fears. Much like comedy, horror benefits from authenticity. So get personal: If you can scare yourself, you can probably scare an audience.

3. Create three-dimensional characters. Write characters whose character flaws feed the action of the story. All good literature and film contains well-wrought characters with desires, emotions, and a backstory. The more human you make the characters of your story or screenplay, the more their missteps and bad choices will resonate with an audience.

4. Recognize that the real can be scarier than the surreal. Sure, you can make up an army of googly-eyed bad guys or plant a severed head in your main character’s bed, but will you really scare your reader? Not necessarily. In most cases, psychological horror sticks with audiences far longer than a jump scare or gross-out moment in a slasher film. Toying with people’s real-life fears tends to scare them much more than just grossing them out.

5. Use the environment. Scary movies and television shows can use jump-scares as an easy way to frighten an audience, but writing scary literature requires its own method of manifesting fear. Setup your environment in a vivid way to fully immerse your readers into your setting. Vividly describing an enclosed space can elicit feelings of claustrophobia. A dark and quiet house becomes more frightening when a character suddenly hears the creak of an upstairs floorboard. Being an outsider in an unfamiliar place, like a small town with no cell phone service and where everyone knows each other, is already unsettling—and if you add a malicious paranormal force to such a setting, you can enhance the feeling of isolation and ramp up the anxiety of the scenario.

6. Write longer sentences. You can heighten your readers’ fear by writing paragraphs with longer sentences. Periods provide natural pauses for readers to take a breath, but if you stretch out your sentences, you build anticipation for the reader—which they might not even realize until they reach the end of the sentence. By using tactics like this, you immerse the reader into your horror story, making them feel what the main character feels and creating a heart-pounding connection.

7. Make your readers breathe faster. Whereas long sentences can amplify the intensity of a story, short one-sentence paragraphs can force your readers to take more frequent breaths while following your narrative. Crafting abrupt lines builds tension in your scary story writing, making the readers’ eyes move more quickly down the page searching for the relief that the protagonist is safe. This can make your audience breathe faster, contributing to the feeling of panic and anxiety.

8. Leverage fear of the unknown. Fear of the unknown is a common theme that can be tracked throughout many of the best stories in horror fiction and horror movies. When there is something that negatively affects us that we cannot control or properly identify, it creates a feeling of panic and dread. Teasing your readers with something not quite definable or a bad guy no one knows how to stop can increase the level of tension and fear when writing horror stories.

9. Lean into dark imagery and your readers’ collective imagination. Consider what images might be frightening to a reader (and yourself). How much of a description of a clown do you need in order to make a reader feel uneasy? How large and grotesque does a rat need to be? Leaving some of these images more general than specific will allow a reader to fill in the blanks with what is most horrifying to them. Example: If you read the word beast, what do you see in your imagination? Most words carry connotations and personal connections. Allow your words to work for you to create the maximum scare.

10. Want tension? Sprinkle in some foreshadowing. Foreshadowing is a powerful tool in your writing arsenal, but it is particularly effective in horror, especially when writing in third person. Foreshadowing is when an author alludes to a future event by showing us something now. The key to foreshadowing is to use it sparingly. We want to up the tension and the fear our readers are experiencing while they yell at the oblivious protagonist not to open the door. We don’t want the reader to know every single thing that’s going to happen.

11. Focus on the moment where things shift. You should consider a pivotal scene in your story idea and try to build around that scene or that moment where the plot actually “shifts.” Sometimes that could be reflected in a realization by the protagonist. Other times it can be represented in some type of ironic twist at the end. By looking at that singular element of your story idea, you cut away the fat so that the reader is left only with the most resonant part of the story.

12. Establish the mundane. Mundane is just a fancy way of saying normal, but the message still rings true. Most story structures tell you to start by establishing the Ordinary World: what our protagonist’s normal life is like. This is important for showing us how important the larger conflict is, because it threatens the protagonist’s normal. In horror, establishing the mundane is arguably more important. In a story where connecting with the character and empathizing with them over the godawful stuff you, the author, put them through, the reader needs to understand just how bad life has gotten. Then you can take both your characters and your reader from a place of comfort and familiarity and plunge them into whatever shadowy hell you’ve concocted.

13. Choosing your POV. By choosing to write your story from a first-person perspective, you are putting the reader exactly where your character is. There are 2 types of third-person POV—limited and omniscient. It is advisable to stay away from omniscient. Part of writing a good horror story is withholding information from the reader, which third-person omniscient doesn’t really allow for. Considering the pros and cons of the different points of view, choose the right one for your story.

14. Avoid clichés. Clichés are boring and predictable, and a horror scene that is predictable is likely to not be scary. A good horror story can still use familiar horror tropes, but a great horror story makes them its own. Look beyond the obvious when trying to write a scary scene—what is something readers wouldn’t expect? How can you surprise them with fear? Use enough of the existing tropes to be identifiable as horror, but make sure you insert your own originality into the mix. One of the reasons people gravitate to genres in general is because they have certain expectations for what should happen in the story. Look for ways to flip archetypes on their heads.

15. Practice. If you’re struggling to get a handle on writing a good story that’s scary, practice with story prompts (see some sample prompts below). Writing prompts can expand your range of thinking and open up new avenues of imagination that you hadn’t thought of before.

Horror Writing Prompts

A scary doll comes to life.

A scene from a nightmare comes true the next day.

Days go by, and your parents don’t come home.

You feel yourself slowly becoming a monster.

Your friends start to disappear, and no one else notices.

You’re lost in the woods, and you don’t know how you got there.

You’re inhabited by a ghost that controls you and makes you do crazy things.

You have no reflection in the mirror.

The teacher is a monster, but no one will believe you.

You hypnotize your brother, and you can’t snap him out of it.

A fortune teller reveals that you are evil.

Someone follows you home, and it’s your exact double.

You find a diary that tells the future.

Every time you wake up, you’re a different person.

Your parents explain that you are actually an alien from another planet.

You know someone is watching you day and night from the house across the street.

You realize you are shrinking.

While reading a scary book, you realize that you’re a character in it.

Someone is living in your mirror.

Everyone knows the new neighbors are vampires, and the kids invite you over for a sleepover.

All the cats in a small town vanish in the middle of the night….and all that remains is a set of big, scary teeth smashed into a car door.

A group of friends takes on the zombie apocalypse.

Strange things start happening after the grandfather clock starts to speak.

You finally meet your child’s imaginary friend. Who turns out to be a serial killer.

When a local police officer goes to investigate the haunted house down the street, he finds a young girl who died decades ago.

Sources: 1 2 3 4 5 6 ⚜ Writing Notes & References

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memories-of-ancients · 8 months ago

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The Sad Fate of Roman War Veterans and How the Punic Wars Destroyed the Roman Middle Class

There's no question that Rome's victory over Carthage during the Punic Wars drastically changed the Roman Republic. Perhaps the most apparent change was Rome's ascendancy from a smaller power in Italy to the dominant power in the Mediterranean. In other words, a big fish in a small pond, to a big fish in a literal big pond. In the span of 120 years Roman territory expanded by vast amounts followed by further Roman expansionism resulting in Roman territory stretching from Spain and North Africa in the west to Greece and Anatolia in the east.

While the Punic Wars would transform Rome into an (e)mpire militarily, it also transformed Roman socio-economic structures. The early Roman Republic had no standing professional armies. Instead to wage war Rome used a militia system with citizen soldiers who were called up as needed. Since the state had no role in equipping soldiers, it was up to soldiers to equip themselves. Roman lower classes were exempt from military service since they could not afford weapons, armor, or supplies while the Roman upper class served as officers or elite cavalrymen. Thus, the responsibility for providing the rank and file infantry of the army fell to the Roman middle class. The Roman middle class consisted of some skilled artisans and small business owners, but by far most of the Roman middle class were farmers who owned small plots of land.

Up until the Punic Wars, this system worked fine as war was a small, short, local event that occurred within the confines of central and southern Italy. A Roman soldier didn't have far to travel from home as the enemy was within easy marching distance away. War was also a seasonal affair where the fighting occurred on the off season, then a truce was called so that soldiers could tend their farms during the growing season, with the war resuming once the crops were harvested. Now Roman soldiers were expected to be shipped to far off places such as Africa, Spain, Greece, Macedonia, and Anatolia. Whereas before wars were short seasonal affairs, now wars seemed to last forever with no recesses so that soldiers can tend their farms. Both the first and second Punic Wars nearly lasted two decades each. And war was everywhere as the Punic Wars involved multiple fronts all over the Mediterranean. No longer were Roman wars short, small, localized affairs. In the meantime while soldiers were away fighting, their fields were fallow and their businesses had fallen into disrepair. The Republic tried to mitigate the financial strains of the Punic Wars on its soldiers by paying a stipend. However it was not enough to prevent financial disaster. When the war ended and Rome's veterans returned home in triumph, they were broke and impoverished.

In order to make ends meet or pay off debt, most had to sell off their land to wealthy landholders, who consolidated that land into large estates and plantations. Many who sold their land became tenant farmers on the land that they had previously owned. Others moved to the city and tried to eek out a living as a laborer, however the price of labor was plummeting as Rome had taken tens of thousands of slaves during the Punic Wars and were taking tens of thousands more in various wars across the Mediterranean. War veterans found that there was no place for them in Roman society. Their farms and businesses were gone, and there was no need for their labor due to the sudden influx of slaves. Wealthy Roman elites had taken control of most of the Republic's land and wealth while a large percentage of the middle class were booted into poverty.

The result of everything I have previously described was a massive and ever growing rift between the rich and the poor as wealth became more and more concentrated at the top. This event became a hot button issue in Roman politics with Roman government being dominated between two unofficial political parties; the optimates, or those who supported the interests of the Roman elite, and the populares, or those who supported the interests of the common Roman. The clash between the optimates and populares led to increasing political instability resulting in the rise of demagogues and dictators. Civil war became common, and eventually the Roman Republic fell, giving rise to the Roman Empire.

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#history #ancient history #ancient rome #punic wars #roman republic #roman army

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anarchopuppy · 6 months ago

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FESTIVALS OF RESISTANCE: ORGANIZE TO OPPOSE TRUMP

January 11

Chicago, Illinois: A training about fighting deportations, as part of the week-long “Regroup and Strategize” series.

Sacramento, California: “Call to Action” conference and gathering, featuring a “day of skillshares and trainings” along with workshops, panels, and a keynote presentation from anarchist author Dean Spade. You can find more information and a full schedule here.

January 18

Atlanta, Georgia: A mass mobilization and day of resistance on the two-year anniversary of the murder of Tortuguita.

Brooklyn, New York: A community gathering including workshops.

Carbondale, Ilinois: A community event, currently in the planning stages.

Cleveland, Ohio: 3 pm Coventry Peace Park, 5 pm Rhizome House

Dayton, Ohio: 5 pm, Union Hall, 313 South Jefferson; a community discussion followed by music

Durham, North Carolina: The Triangle Festival of Resistance, a weekend-long festival focused on community defense, resilience, and liberation. For updates and information about how to contribute, consult Triangle Radical Events.

Gary, Indiana: A demonstration against mass deportations.

Milwaukee, Wisconsin: 6 pm at Nice Hair, with workshops on trans defense, migrant defense, self-defense, and movement defense

Minneapolis, Minnesota: A screening of Fell in Love with Fire with letter writing to prisoners and a discussion about the next phase of struggle at the Seward Cafê at 6:30 pm.

Portland, Oregon: A gathering in a COVID-safer, sober space. Families with and without children are welcome to attend. Food will be provided. You can also find updates about event organizing in Portland here.

Providence, Rhode Island: 3 pm - 9+ pm, AS220

Oakland, California: A march to a community assembly, departing from Wilma Chan park next to the Lake Merritt BART at 1 pm.

Olympia, Washington: The People’s March, 12 pm, departing from Heritage Park; followed by the Festival of Resistance.

Phoenix, Arizona: 3-8 pm, Margaret T. Hance Park, featuring a Really Really Free Market, food, literature tables, and a number of educational workshops

Richmond, Virginia: A community assembly involving panel discussions, workshops, and food, followed by a benefit concert.

Events are also being organized in Salt Lake City, Utah and elsewhere.

January 19

Chapel Hill, NC: The second day of the Triangle Festival of Resistance.

January 20

Indianapolis, Indiana: A Mutual Aid Convergence at Ujamaa Community Bookstore.

January 21

Arcata, California: A march departing from Arcata Plaza at noon—against Donald Trump, in solidarity with Palestine, and in memory of Tortuguita.

January 25

Tampa Bay, Florida: A community gathering and organizing fair for “politics beyond the ballot box.” “Organize with your community to fight for transformative change! Connect with a local project from anti-capitalist orgs, labor and tenant unions, mutual aid orgs, and more!”

Click here for the call to action and most up-to-date list

#donald trump #fuck trump #fuck maga #social justice #anarchism #activism #mutual aid #practical #not gardening #solarpunk

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mirrorofliterature · 2 days ago

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padmé amidala sheds her role as a senator one week after the battle of geonosis.

'I refuse to condone the war,' she says in her last, most viral speech. 'I refuse to be a member of a body who most egregiously is breaching its fundamental tenants. this army is slavery, and I will not be part of it.'

she steps off the mantle, slips back into the life of padmé naberrie, disappears into obscurity.

the world will not forget padmè amidala, the senator who survived a battle who killed hundreds of jedi, who stood up to the trade federation at fourteen and won.

but they will no longer know her beyond twenty four. a ghost, lingering in the senate. naboo becomes infamous for becoming one of the too few worlds offering solace for clones beyond slavery.

palpatine leaves them alone, although he hates it, for if naboo leaves the republic, he can no longer be chancellor.

still, it eats away at him.

at the same time as padmé amidala was giving her last speech in the senate, anakin skywalker was rejecting knighthood, resigning from the jedi order altogether. it is almost like it is planned, a seamless harmony.

'I refuse to lead an army of slaves,' anakin says, head bowed, hands hidden in his sleeves. 'I will not be Depur. if you do, you have thrown your integrity away.'

the council protests, as it is wont to. it can scarcely afford to lose one of its most promising padawans, particularly over moral posturing (for the clones are not sentient, and if they are not sentient they cannot, by law, be slaves), and ignoring their command would beget more sufferring -

the jedi lost its way decades ago, when it first refused help because the senate said so. peacekeepers turned attack dogs, transformation finally complete.

and in this universe, anakin refuses complicity. he has a much better offer, after all.

two weeks after the battle of geonosis, anakin skywalker marries padmè naberrie in a quiet, intimate ceremony, no padawan braid, no jedi robes, simply family and a lake.

shmi skywalker smiles, softly, finally free, no longer tied down to a chain gilder, as her only son becomes anakin naberrie.

padmè and anakin naberrie slip, silently, into the fabric of naboo society, simply yet another young married couple. one that is set on fighting for the clones freedom, but no longer trapped in the constant glare of the public eye.

eventually, the war stops, slave chips decoded and removed from the clones' heads, the jedi fractured and fragmented, troubled by what they had let themselves become.

when padmè naberrie gives birth to her children, it is a quiet night. there are no siths rising, no republic crumbling.

simply her husband, her love, steadfastly by her side, and nothing else.

a fill for 'everything goes right' via resignation for @anidalaweeks day 1. AO3.

#anidala #anakin skywalker #padmè amidala #padme amidala #star wars #my writing #my fic #fix-it #canon divergent #jedi critical

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fuckyeahgoodomens · 1 year ago

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SFX Magazine Issue 368, August 2023

THEY’RE BACK – AND THIS TIME THEY’RE IN ALL-NEW TERRITORY. NEIL GAIMAN TALKS RETURNING FOR SEASON TWO OF GOOD OMENS

THE RASCALLY DEMON Crowley (David Tennant) and the neurotic angel Aziraphale (Michael Sheen) put aside their differences to pull off one doozy of a Hail Mary and prevent an impending Apocalypse in Good Omens’ first season. The task cemented the pair’s unconventional friendship. So what are divine beings, who have fallen out of grace with both Heaven and Hell, to do for an encore?

The answer lies with archangel Gabriel (Jon Hamm), who shows up unannounced on the doorstep of Aziraphale’s London bookshop. Suddenly, Aziraphale and Crowley are caught up in a caper of biblical proportions – but also a more intimate tale.

“It’s a mystery,” showrunner Neil Gaiman tells SFX. “It kicks off a story that doesn’t have giant consequences for the universe, even if it does have consequences for Aziraphale and Crowley. We have a lot of the marvellous Jon Hamm, who is the angel Gabriel and turns up at the beginning stark naked, carrying a cardboard box with no memory of who he is. In the same way, it is about Aziraphale and Crowley having to get involved with humanity in a way that they haven’t before.

“They get dragged in slightly against their will to try to sort out the love life of Aziraphale’s tenant,” he continues. “Her name is Maggie [Maggie Service] and she runs the record shop next to the bookshop. You’ll see the coffee shop over the road, which is Nina’s [Nina Sosanya]. The relationship between Maggie and Nina is one that Crowley and Aziraphale try to fix, and mess up, because they are not good at human relationships, even if they can do miracles.”

Truth be told, Gaiman never originally intended this arc to serve as Good Omens’ second instalment. The TV series was based on Gaiman and Terry Pratchett’s 1990 novel. The two collaborators had partially hashed out the details for a sequel to the fantasy comedy, late one night in a hotel room. This, however, is not it. Gaiman instead plotted a new narrative that could provide the connective tissue between the first season and a theoretical season three, if it happens.

“Because the hypothetical season three exists, there is a story that is there, and I didn’t feel that we could drive straight from season one into that,” Gaiman explains. “I knew what the stakes were. I knew what the parameters were. I also knew that I had David and Michael. I had the angels from plot number one.

I had demons from plot number one. And with anybody that I wanted to bring back, but didn’t have room for right now, I did not have to bring them back as themselves. “I had absolutely nothing for Madame Tracy to do in this plot, but I would be damned if Miranda Richardson wasn’t going to be in this. She is one of my favourite people in the world. She is hilarious and is so good. And I knew I was going to have a new demon replacing Crowley as Hell’s representative in London/ the UK. Miranda’s demon Shax is the best demon you could want.”

It’s late February 2022 and SFX is in Edinburgh for a set visit. A soundstage in Pyramids Studios has been transformed into a street in Soho. The visible local stores include the aforementioned book, coffee and record shops, as well as a magic establishment. In the middle of them all stand Aziraphale and Crowley, the latter in close proximity to his classic Bentley. It’s close to the end of the six-episode season, so exactly what the duo is discussing constitutes a spoiler. We can say, however, that Aziraphale has picked up the pace. Time is of the essence as Shax marshals her forces to descend on Aziraphale’s store and retrieve Gabriel.

“This is really Shax’s first time out on Earth,” Gaiman explains. “She is working very diligently and very hard in Hell for a long time. Now she is on Earth, trying to figure it all out. She’s just discovering what Crowley has known for 6,000 years, which is that if you’re a demon and come up with a brilliant plan to screw up the lives of humanity, people will get there first and do worse than anything you could have imagined! She’s coming to terms with that.

“She is having to deal with the first crisis on her watch, as well, which is the disappearance of the archangel Gabriel from Heaven. It would be fair to say that by the end of the story, she is leading as much as she can get from Hell’s requisition department – a legion of Hell – in an attack on a Soho bookshop.”

When audiences catch up with Aziraphale again, he’s enjoying his time among humans. He owns most of the block in a Soho neighbourhood, and he’s meddling in Nina’s love life. Meanwhile, Crowley has been living in his car, with his plants sitting on the back seat. He’s grumpy about his current status quo, but frequently hangs out at Aziraphale’s. The duo began as antagonists, but their history and blossoming relationship will be fleshed out in flashbacks.

“One of the enormously fun things I came up with is the idea of minisodes,” Gaiman explains. “They are 25-minute-long episodes within the episode. We have three of them over our six episodes. Each of them is like one of those chunks of episode three [in season one]. Whereas the longest one of those was four or five minutes, if that, these are full stories.

“You get to have the story of [put-upon Biblical figure] Job, and you learn Aziraphale and Crowley’s part in the story. Then writer Cat Clarke takes us to Edinburgh in the 1820s for a tale of body-snatching and attempted murder that the boys get involved in,” he adds.

“Finally, Jeremy Dyson and Andy Nyman reunite the League Of Gentlemen in a Nazi-period story that takes place very shortly after the episode in the church. That one was the only one I said had to be there, because I fell in love with our Nazi spies in the church. I kept thinking, ‘What would happen if they essentially came back as zombies, with a mission from Hell to try and investigate whether or not Crowley and Aziraphale were actually fraternising?’”

Gaiman admits that one of the greatest challenges has been filming Good Omens simultaneously with his upcoming show Anansi Boys. The two shoot within throwing distance of each other, but are both timeconsuming endeavours.

“If I could go back in time, I would go back to 16 September 2020, when Douglas Mackinnon [co-producer] and I got the phone call from the Amazon bigwigs to say, ‘We have good news for you and interesting news for you,’” Gaiman recalls. “‘The good news is we are greenlighting both Good Omens and Anansi Boys. The interesting news is you are going to have to do them both at the same time.’

“I would go back to then and I would throw myself on the call and say, ‘Neil, don’t! This is unwise.’ That we are doing them both together is great. The amount of sleep I am not getting is monumental and monstrous.

“It’s a little bit like childbirth, in that I managed to forget all the things that drove me nuts about the first one. Having said that, I managed to fix all the things that really drove me nuts making season one, which is great. We just have a whole new set of problems making season two…”

The Odd Couple - David Tennant and Michael Sheen talk character and sets for season two

Crowley and Aziraphale come off as the best of frenemies at times. Where do they stand with one other now?

DT: They are indeed. What’s different in season two is because of what happened at the end of season one, they no longer have head offices that they have to report to. They are in a very different position. Whereas before they were trying to get away with things, now they are kind of free agents.

MS: Although sort of fugitives as well. They are sort of in-between. But this amazing life they have created over a millennia, they are now able to enjoy in a slightly different way. They are not having to put on a front for their respective teams. There is a different kind of freedom.

DT: While at the same time being cut off, so they are also strangers in a strange land.

MS: That kind of connects them in a slightly different way. They have always been the only two beings who could understand each other’s position. Now they are pushed even closer together.

Now that they have the run of the place with no obligations, does that bring its own set of problems, being cut off?

DT: They have this sort of uneasy relationship. They are not entirely cut off from their head offices. Indeed, their head offices are quite keen to exploit that sort of adjacent connection, as we will see as the story unfolds. They exist in this grey area, neither the supernatural nor of the Earth.

MS: By the time we pick up their story in this series, they have appeared in time where they were kind of let alone a bit more. When we pick the story up, they are being bothered again.

The depth and the richness and the detail of what we are seeing on set here in Edinburgh is mind-blowing. How is it for you having it all in one place now, rather than having filming scattered around the UK?

MS: It’s completely changed the experience of doing it. Just being indoors… The Soho set on the first season was freezing cold.

DT: I was in a car park. Even inside the bookshop I was exposed to the elements! There’s a greater percentage of the show set here. There was a practical imperative to making it a manageable environment. If we had been in a car park, the elements might have impinged our ability to film.

Hellraiser - David Tennant is Crowley

You and Michael know these characters inside out. Do you have a shorthand?

It’s a hard thing to be objective about. Although I didn’t know Michael that well before we shot season one, it was always easy and exciting working together. It’s well-oiled now, for sure. It’s certainly fun to come to work. We enjoy bouncing off each other.

How comfortable are they about becoming involved with Gabriel?

I suppose Aziraphale is a much more enthusiastic detective. We are very much voting for the spin-off called The Azirafiles, which will follow this! As with most things, Crowley is reluctant to get involved or to exhibit any kind of energy or enthusiasm about very much. He is dragged kicking and screaming into this. Necessity forces him to get involved, whereas Aziraphale rather likes it.

Where does Crowley hang out these days?

He spends a lot of time in the book shop. He only has one friend. He can only have one friend. That is the great liberation, and also the great prison, that they find themselves in. They have no one else. They have come to rely on each other more than they ever did. And more than they care to admit.

Crowley is a rock star, in a way. Were there any particular musicians that inspired you?

Not consciously, no. The look was assembled accidentally during the first costume sessions. The Crowley of the book is of the mode when the book was written. He is more kind of Wall Street, the way he is described. We just decided that Crowley should always be of the moment he’s in. We were just trying to find a look that we felt fitted.

Divine Being - Michael Sheen is Aziraphale

How has knowing your characters better informed this series?

The first series was the first time we really properly worked together. It feels like we haven’t stopped working together since. Everything that has happened in-between plays into coming back to these characters. I am sure it is all feeding into it. It’s very difficult for us to know how that is informing the characters and their relationships.

With the flashbacks to various points in Earth’s history, is there a period of time Aziraphale enjoys the most?

One of the most enjoyable things for the audience and us is moving through different historical periods. It’s a great source of joy, and people thoroughly enjoyed that episode in the first series, so that has been expanded on in season two. But in terms of which Aziraphale enjoys the most, I think it’s not actually a period of time that we’ve seen him in on this series.

He would have been happiest at the end of the 19th century, in the Victorian era, which is considered the golden age of magic. He would have loved being with the greats like Harry Houdini. He loved the Victorian period. It was a great period of time for philanthropy and doing good works in a municipal way.

How has it been going from something dark like The Prodigal Son to a more whimsical show?

That’s the nature of an actor’s job. You go from one thing to another. In some ways, it’s even more useful to have big differences between the characters. What tends to happen, and I think most actors feel this way, is if you are playing one character for a long time, part of you yearns to play the bits the character doesn’t have. There’s a naivety and an innocence about Aziraphale. But at the same time, underneath that, there is eons of knowledge and experience.

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