#when a character never gets elaborated on. at what point do they go from canon characters to ocs

[cameatslemons]

im at a point with writing about the little misters where im no longer sure if theyre canon characters anymore

[miguxadraws]

Hello, I hope you don't mind me asking, but I love your art style so much, and the way you draw Ragatha!!!

Would it be okay if I asked you for advice on how to draw Ragatha's hair?

Thank you!

It's perfectly fine to ask me for advice, but just so you know, I'm not the best at explaining my art processes tbh. I've never done an art tutorial or anything similar to that.

However, I tried making a small guide here on how to draw Ragatha's hair - well, how I draw it at least. It's sort of a rough sketch, but hopefully it'll be useful for you!

First off, I'd like to point out that when I began drawing her character, I used one of her official 2D artworks as reference to draw her hair, not her 3D model!

To be more specific, I used this one:

Another important thing to take into consideration is THE VOLUME her hair has.

If you have curly hair and it's long enough, you might know that to make it have that sweet sweet volume, you gotta style it in LAYERS! The same applies to Ragatha here, which you can actually see in the image above! If you wanna make her hair look voluminous, you need to draw it in layers (Assuming you'll be drawing it similarly to how it looks in canon - like dreadlocks)

Anyways, now onto the process!

1st step - Bangs

When drawing her hair, I will always start by drawing her bangs first. It helps me sort out where the other locks will be going for the most part.

I will always start by drawing the 4 locks that go on top of her forehead. The two in the middle will always be shorter than the ones on the sides, but that's just my preference.

Once that's done, I do the longer locks that go down along the sides of her face.

2nd step - Locks on top + bow

Bow is not mandatory, but I must admit it does make my life easier when i'm drawing her, because then i'll always know where to put the two locks she's got on top of her head - that being right where the bow begins - behind it.

3rd step - Superficial layer!

Once you get the two higher locks and the bangs done, this step becomes way easier. You just gotta fill the gap between them.

I'll normally draw 3 on each side, but of course that will depend on the thickness of the dreadlocks you're drawing. It's overall pretty simple.

I like making these 3 locks more droopy than the other 2 coming from behind the bow, but that's also just my own preference.

4th step - Secondary layer

As you can see in the two examples in the center, the shorter locks on top will sort of flow in the same way as the 2 smaller bangs in her front. They go up, then down.

The longer ones that go behind her neck will just go straight down since they're longer and therefore heavier, just like the two long locks on each side of her face.

Clean up + fixing asymmetry

In the top left example, some of the locks were asymmetrical, so I fixed that after cleaning up the sketch. Mistakes like these tend to be very noticeable once you clean things up, so try keeping each side as symmetrical as you can to one another, especially if you're drawing her front view.

Anyway, that's pretty much it for my process! I feel like I could've elaborated a bit more and made this more organized, but at the same time I kind of have no idea what to do lol sorry

Still, I hope this helps you out somehow!

[tobyscloset]

I am going to talk about my favourite things from chaos theory and of course, the downsides, and my personal opinions!! (Opinions based around the benrius/yasammy topic) So major spoilers ahead under the cut!

Goodsides :D

While chaos theory is a kids show, it definitely displays more mature content, something camp cretaceous did not show! This includes blood, and visual character death (Daniel Kons was specifically gruesome), and description of mental issues, this is specifically PTSD, implied depressive states and breakdowns, the show dives deep into the world of surprise, watching it i was shocked in a good way when a scene came up. Kenji's breakdown was perfectly animated and portrayed.

Each character never faded into the background and they were all equally focused on throughout the season. The show also focused on relationships between the campers, and their families. Specifically Sammy's. Each character has their own comical relief line even when in a dangerous situation. The campers never matured, only grew, they stayed themselves and still act as a group! Same way they did on Nublar.

The plot twists are bonkers, I was not expecting the DPW to be up to sketchy business, nor did I expect suddenly blossoming romance between characters. The budget is definitely higher than it was with camp cretaceous, I couldn't tell if some scenes were animated or real. Beautifully portrayed landscapes.

Overall, the show deserved every amazing rating and my personal rating is an 11/10.

Downsides D:

My first itch was the one-sided romance with Darius and Brooklynn. It certainly was a plot twist but I feel that it was absolutely unnecessary and could've been kept platonic. I feel it would be more heartbreaking and deep if Darius sent her voice messages as a friend, telling her that he's sorry and telling her things about his day. That one scene threw me off on the episode, not because I'm an angry benrius shipper but because it very much could've been kept platonic and felt unnecessary, but was written and played into perfectly. I have absolutely no criticism of the actual writing.

(this was talked about on the discord) - It feels like Brooklynn used to be independent and a baddie in camp cretaceous until she started becoming the love interest, and then it felt like she just became dependent on Kenji and unable to do things herself, so I am hoping that if we get a season 2, that we really get to see Brooklynn not be the love interest and work independently. And I genuinely hope that it won't turn out into another klance situation with Brooklynn, because she was super overhated before, and some angry benrius/benji shippers WILL hate her for "getting in the way of a mlm ship", which is not the case.

My last point was with Darius' health. Darius never got that shine through and we really never got to see how he coped with Brooklynn's death or after the island. They show little cracks but never unpack his full health, which I do hope we get to see in future seasons.

Other than those three points, I really do have nothing to criticise because it was perfect.

Personal opinions/hopes on ships :3

I really do hope we get to see more yasammy content specifically how they build up their relationship more, especially comforting scenes like we got in Ben's soggy van. And Sammy telling Yaz about her family not being in contact, and I would really love to see their relationship play out further and elaborate on the family situation!! :)

-

As I autismed a little too hard and have had a hyperfixation on Benrius since 2021(?), it's not to say I didn't have my hopes up for their relationship in chaos theory, but I also can't say that I expected them to be canon. What maybe the directors could've done is provide that teeny bit of fan-headcanons, because from what I've seen, alot of people from the fandom headcanoned Ben as a gay man, so instead of a girlfriend he would've had a boyfriend. Or they could have Ben lie about the girlfriend because he may have worked out he likes boys, and has internalised homophobia. But back to benrius, they had ALOT of chemistry in camp cretaceous, and for me it was a little disappointing that their relationship dwindled down a little. What I am hoping (manifesting) is that Ben realises his feelings for Darius, and has issues coming out to him and confessing.

Despite my opinions and criticism, the show is definitely worth the watch and deserves every thumbs up from the viewers. I thank everyone who worked on chaos theory and put their best effort into it. 11/10 show. Thank you.

[hatredmadeofgold]

So, Raiden has DID, right. This is a fact.

What do you think about his system? I know you write fanfic about him, do you think there are any other elaborated parts other than Raiden and The Ripper? (I'm not a fan of "evil murder alter," but I feel like naming would be pretty ambiguous. :)

Hey anon, I am sorry in advance but this answer is 2263 words long lmao Go sit back with a beverage of your choice (I recommend water) and enjoy the ride.

[Not sure if you’ve read my little attempt at an essay from July 2022 about him having DID (it’s here), but I do consider it outdated now and would love to update it (same as the one on him having ASPD) at some point when I got the energy for that.]

This is a fact made me laugh a bit, ngl.

I am not a fan of the “evil murderer alter” thing either (I watched Split once and while I give my kudos to the actor’s portrayal of various alters, the story itself sucks ass and I also found it boring as hell to be honest) — if anything, Raiden’s entire system consists of “evil murderer alters”, or none of such at all. We’re speaking about a character who admits to enjoying murder, and that wasn’t The Ripper speaking back then in MGS2 either — Raiden isn’t left in the dark of his violent nature, but he’s left in the dark about the details.

I don’t want to give too many spoilers for my fanfiction series @mgsr-sing-to-me away, since the story goes in-depth about my concept of his DID system, how it was created and what each alter roughly represents, but I’ll try to give you a quick rundown:

Something I think most MGS fans can all agree on is that Raiden in all three games in which he appears feels somewhat different, to the point of ‘inconsistency’ even, and this has created my interpretation and headcanon for him to have DID in the first place, and Raiden having suffered from amnesia is a well-known canon fact.

To me, however, it’s not MGR Raiden who feels strongly different in terms of personality — it’s MGS4 Raiden who feels like an inconsistency.

I consider the Raiden we see in MGS4 actually a different alter being in control of the body than the one who is in control during MGS2. During MGR, it feels like a mix of both of those alters but let me get to that later.

‘Jack the Ripper’ is an obvious alter, not an ‘alter ego’, and when I played MGR in Japanese, the cutscene after the Monsoon boss battle in which Raiden touches the wound on his abdomen made me realise — hold on, he suffered amnesia right there.

Something that I strongly dislike about the English Dub of MGR is that Quinton Flynn isn’t really good at the portrayal of Jack. Throughout the Japanese dub, however, Ken’yuu Horiuchi uses his voice to show the literal switching between at least three alters present in Raiden throughout the game. Unfortunately, this isn’t evident in the English dub much at all, aside from the Jack the Ripper Awakens cutscene.

For easier understanding’s sake, I will give those alters some nicknames (also to prevent spoilers for my fanfiction):

The Raiden of Denial, as we see him both in the first half of MGR and MGS2

The Raiden of Dissociality, as we see in the later half of MGR and on and off during MGS2 (especially during {optional} Codecs with Rose)

Jack the Ripper

The Raiden of Sorrow, as we see him during MGS4

I took these 4 observed alters from the canon as my pillars to roughly create my concept for his DID system, which boils down to an approximate number of 16 or more alters in total.

I say ’16 or more’ because Raiden has never received adequate therapy for his mental health issues during canon, and it’s hard to determine an exact number of alters in general due to the covert nature of the disorder.

I decided to keep the exact number ambiguous but clear and simple enough to not get overwhelmed because technically someone with such severe trauma as his could result in poly-fragmented DID (aka 100 or more alters), but that’s not even set in stone.

Let me get into the specifics a bit.

—

Raiden of Denial alters are parts of him that are, what the (flawed) model of structural dissociation would probably call “apparently normal parts” (short: ANP). I take this model with a grain of salt because DID isn’t as neatly structured as this model suggests (in my experience), but to keep it simple, these alters are less aware of the full extent of their traumas and are therefore ‘functional’ in everyday life as well as interpersonal relationships, however, they feel less ‘fleshed out’ or ‘mask-like’ in his case sometimes.

All Raiden of Denial alters tend to run away from their past, hence I label them with the word “denial”. All of these alters are adults, and the apparent Host alter {at the time}, present in the first half of MGS2 until the nanomachines suppressing a part of his memory (aka suppressing the majority of the system) are deactivated by Solidus Snake, is one of such.

—

Throughout MGR, we can see two alters intruding on each other’s consciousness with thoughts, feelings and memories. One of them is like the one we see in MGS2 and the prologue of MGR, one in denial. Then there’s one we see sometimes in MGS2 and more and more prominently during MGR, a dissocial one.

We see an indirect switch right at the beginning of Chapter 1, where a dissocial type takes over. This shift is also picked up by Kevin, mentioning Raiden’s callousness that Raiden does not respond to.

These two alters are in so much conflict with each other throughout the game that Jack the Ripper decides that he’s had enough of that shit from the other two because neither of them is capable of handling being consistently confronted with triggers and reminders of “who they all really are on the inside”, and shoves them both out of the frame and takes on full control.

This comes with strong amnesia about what happens during his takeover. It’s not total blackout amnesia, but rather that it feels like watching himself act in the third person perspective, and the memory feels like Raiden is watching a YouTube video on a bad internet connection in 360p resolution.

—

Now Jack the Ripper is a persecutor-type of alter — an alter that has a protective role for the system, however, a persecutor’s methods are causing harm to the system overall.

I don’t want to give too much away from my fic as I said, but I’ll give you the hint that Jack the Ripper that we see during MGR is both an adult and a child at the same time.

A child who is trying to protect himself by lashing out at everyone and everything around him. It is obvious given the context of what we are told from the games that Jack the Ripper was born from the horrible things he was forced to witness and forced to do himself when he was a child soldier in Liberia, hence his age-ambiguity. And even The Ripper is split into several variants, making The Ripper his own category of alters.

The variants of The Ripper handle various parts of the horrible things that he had to endure as a child soldier, and they vary in ‘age’ and what triggers them out but they all behave roughly the same.

Despite being different alters of the same category, unlike the other alters within the same category, Ripper variants all consider themselves to be one and the same, perhaps unable to understand the barriers between them as well as gaps in memory.

Also one part of these alters is a child alter who has none of these violent and hostile traits at all, but is still a part of this category. This alter is protected by the rest of The Ripper, and contains all of these emotions that he was not allowed to openly show to guarantee his survival back in Liberia, like fear, sorrow, and pain but also empathy.

There are multiple of these child alters in the system, but they are hard to distinguish without giving them names, some have memories of their trauma, and some are completely oblivious.

—

The Sorrow type of alters are what we exclusively see in MGS4 and are what I associate with self-hatred, recklessness, suicidal ideation (internal homicide), self-harm and substance abuse.  

Sorrow types are either adults or teenagers. They exclusively have a detailed awareness of Raiden’s addiction issues, which is another headcanon I have and is also listed in the content warnings for Sing to Me (ARC 2: Parasite Eve will handle this topic the most; and it may or may not be rather graphic, it depends on what I decide in the end what I will decide to publish).

—

Now I have listed 4 types of alters but I did not say anywhere that each category of them equates a set amount of alters to get to the number of 16 known alters in the system.

Because there’s another category to throw into the mix: Introjects.

So far, I have 4 introjects in mind that are part of Raiden’s system, but due to Sing to Me spoilers I cannot share them all.

Introjects are alters based on another person, be that a person in the system’s life, a celebrity they look up to, or even a fictional character. They exist in all DID systems in real life (and some sources confirm fiction-based introjects aka fictives since the 1980s) and their existence has a link to the psychology of child development.

One introject Raiden possesses is based on Solidus Snake/George Sears. Said alter is also a persecutor type and could be overlapping somewhat with the Ripper category, but is not a direct part of them. This persecutor introject of Solidus causes the entire system a major hit to their self-esteem, as he enacts the very same punishment onto the system, as the real Solidus Snake did on Raiden when he was a child soldier under his control, and also sabotages a lot of Raiden’s relationships by ‘protecting’ him from perceived threats that he sees in others.

—

Another I have in mind is perhaps based on Solid Snake/David and could have formed way before they’ve actually met. This makes sense because Raiden had gone through 2 years of VR training for the Big Shell mission, which put him into Snake’s role when he was on a solo infiltration mission on Shadow Moses Island in Alaska. This David introject is very loosely based on the actual person and is more of a fragment of what Raiden had been made to believe during those times. After their meeting, this introject might take the role of a ‘caretaker’ type of protector. Caretaker in this context must not be understood as to be something like a mother or father figure! However, this alter is counteracting the Solidus introject as well as the Ripper variants, by trying to get himself back on track.

—

Then there’s a fictive I feel like I can share about, and it’s the only female alter in the system: Ripley. And with that one I mean the actual Ellen Ripley from the first 4 movies of the Alien franchise.

Given that MGS2 mentions Raiden and Rose having met over arguing over King Kong, I came to think of what other types of fiction Raiden would enjoy and wrote myself a (still unfinished) list of movies and books.

The Alien franchise started in 1979 with the first movie, so it even matches timeline-wise that Raiden possibly saw those movies in his late teens, perhaps on TV or borrowed them from a local video rental store. Kaijū movies seem to be his thing, and although the Alien franchise is not considered one, it does overlap in some aspects of the genre.

Ripley as an alter might have formed when Raiden was moved into a foster family’s home, and to cope with his terrible nightmares that felt far too real, his psyche latched onto the fictional character to dissociate himself further from his past.

What I imagine is that he saw his nightmares, the flashbacks, and what he went through as something as undefeatable and unkillable as the xenomorph as described in the first movie, “the perfect survivor, without a conscience, guilt or remorse, nor moral code”.

Now Ripley was able to survive the xenomorph, and also kill it — by shooting it into space. Something that Raiden always wished to do with his past, just to erase it, as we learn in MGS2. At the time this alter takes its shape, he was maybe 15 or 16 years old. Ripley is also a protector, to protect the child in him additionally from pain. This alter then also takes a motherly role for the system inside Raiden’s Inner World, something that cannot be seen by an outsider.

—

The last introject I cannot say anything about it, since that one would give a too-harsh spoiler for my story plans with Sing to Me. I’d LOVE to talk about this alter and the absolute mindfuck he will create once he surfaces and interacts with other characters in the story, but my hands are tied. It sadly takes me so much time to work on the story due to the lack of energy I have overall, but it’s on my mind every single day. Even writing this answer took me two nights T_T

And considering that I’ve written over 2200 words to answer this ask already, I will make a cut here. Because honestly, I could write an entire book about Raiden (and Sam).

Which… I am actually doing, sort of, with my fic, due to its sheer estimated length of around 100 chapters for just the main story.

[eerna]

Omg the way Eloise is written as a feminist character BOTHERS me. I can’t always put my finger on why, but a thing that sticks out to me the most is how she just says the most blatantly basic (for us 21st century viewers) things and idk it’s supposed to seem revolutionary… but it’s never clever. And it is never deep.

Anyways I saw your tag on the Eloise/Cressida post and I was curious to hear any elaboration of your thoughts on her feminist portrayal? (But no pressure!)

YEEAAAH EXACTLY! I have the same issue, Eloise just says 21st century equality stuff without ever having read a single feminist pamphlet (this is canon, she doesn't start reading them or attending discussions until she's 18). Somehow she developed a perfectly uniform idea of modern womanhood when she was isolated and raised to be a traditional lady. Her opinions should be WAY more half baked and full of holes because this life is the only one she'd ever known. That's not even mentioning the inability to discuss feminism without discussing class, something Eloise has No Idea About.

Then comes the issue of writing. This is a stupid show. No one looks smart on this show. So when Eloise drops a "smart comment", it is cringe and dumb. She is supposed to be eloquent and witty, but most of the time she looks like a mean snob belittling everyone around her.

Another issue is that everyone else around her is a horrible sexist caricature. Yes, she is snobby, but my god every other woman only cares about men and marriage and gossip so I can't even blame her all that much for it. Her friends don't really care about what she has to say and will always leave her to go chase a man. And even SHE starts fitting the description the moment she falls for a guy - she lies to her friend and puts everyone in danger, and 90% of the reason is a man with only 10% being her self actualization. You can't write a proper feminist if everyone in your story has the same goal, which is to find a husband. It doesn't help that we know Eloise is headed for marriage and babies because every time a character expresses they don't want one or both of those things, they are proven wrong by the narrative.

And finally, my last thing making Eloise a bad feminist character, is that she is SO PASSIVE. Sure, it might be the point of the show as Pen calls her out for it, but we still don't know if they are gonna fix it so I am putting it here anyway. She only talks and complains about her lot in life, but never acts against society. I was happy when she started sneaking out and hang out with The Working Class Feminists TM, but that turned out to be a short failed romance subplot instead of a character moment and she gave up on it almost right away, so it doesn't count. And now in s3 she decided to embrace society and its expectations, so I am not sure we will ever get to see that kind of rebellion again - I sure hope so! But idk.

As a "well written Eloise" character, I'd like to suggest Felicity Montague. She is a character from a 18th century romcom, a noble lady, aroace and trying to go to med school when her gender prevents her from getting an education. She doesn't use her screentime for long-winded monologues about the unfairness of the world, she ACTS on her thoughts and opinions so we know what they are. She switches covers of romance books and textbooks so she can study without being bothered, she runs away from home to try make her dreams come true, she finds alternative solutions. Her thoughts are never lauded as One Truth, in fact she is often called out for the blind spots in her opinions since she too grew up a sheltered noble and can't account for all experiences. She is surrounded by women who challenge her ideas and make her into a better friend and person. AND she is funny and reading her is just plain fun. You CAN do a feminist who doesn't belong in her era, you just have to be careful to also make her a good character.

[charcubed]

I NEEEED people—especially those with unfathomably large platforms???—to start doing just a tiny bit of internal evaluation before they log onto a blue website and say “I don’t want these queer characters to fuck in canon” or “I’d be fine if these characters never kissed again” or whatever.

This is a post about Good Omens and the prospect of Aziraphale and Crowley potentially having sex in season 3. It's a response to a tweet that I'm crossposting, but let it be known the above statement and this topic applies broadly across multiple fandoms too.

But anyway, in regards to Good Omens specifically:

I am seeing this take that essentially boils down to "Canon has now made it clear that these characters want to have sex with each other through subtext (i.e. Aziraphale and the ox), but I don’t want that to reach narrative completion because the idea of them having sex makes me uncomfortable or isn’t my personal preference” and it is, to put it mildly and delicately, A Very Bad Take.

This is rhetorical (and I do not expect or particularly want an answer), but: explain to me how and why queer characters who are unavoidably visibly queer (aka 2 "man-shaped beings") fucking on screen wouldn’t be a net positive, especially when you can indicate how canon has set it up.

Presumably, some people say things like this because ~they want to see them as visibly ace.~ Okay. But by some of these people’s own admission, there IS more evidence in canon now to indicate these characters crave sex with each other (vs arguing otherwise)... yet people would rather that be ignored/erased all for the sake of them feeling comfortable or feeling better about what canon shows or doesn’t show explicitly??

I’m sorry, but—speaking as an ace person, to be clear—your personal preferences for the story shouldn’t / don’t affect anything here. There’s too much in this.

Yeah, I understand on a personal level not having “representation.” I almost never see myself or my unique experiences and identity reflected in stories. And yet, I also understand that that doesn’t change any story or the world in which we live. Things like this are not said in a vacuum.

Any queer characters having sex on screen IS a net positive. It is rare and impactful, and openly calling for or hoping for otherwise when canon points to its potential is a detrimental alliance with purity culture, whether intentionally or accidentally. Because we live in a Goddamn society!

Who knows (other than Neil Gaiman) whether Aziraphale and Crowley ARE going to fuck on international TV. None of us do! But the subtext right now blatantly says they’re starving for it. And you don’t have to like the prospect of that, but honestly? We SHOULD get to see it play out. There’s no truly legitimate reason we shouldn’t ¯\_(ツ)_/¯ Whether you "prefer" it or not.

And my ultimate hot take is… if someone balks at the idea of that or doesn’t understand the importance of it, despite even seeing the subtext… then they should perhaps unpack that? Just a thought.

Truly the way fandoms are managing to hit either “subtext doesn’t count :/ ” or “let’s keep it to subtext so it’s ‘open to interpretation’ :) ” nowadays depending on what corner one visits is MADDENING. Whiplash-inducing. Surreal. And so much nonsense you can’t pick where to start.

So! I do genuinely hope I'm not kicking off discourse but I felt this Needed To Be Said (and on more than one site). Because posts like “even if they never kiss again, we’ve won <3 “ make me want to be like…

These characters are YEARNING. Do not doom them and us to it. For once, we can reach for the stars and maybe–against all odds–pull them down. Embrace it!

---

[Update: after more discourse has occurred, I have somewhat elaborated on this further, from the POV of the significance of the queer themes in Good Omens and more specifically how they center illicit pleasure/desire]

[evilkitten3]

Mutual, I'm lowkey obsessing over your tags about akatsuki Tsunade, can you elaborate more the basic timeline? Like how this would affect Tsunade's arc in classic and such

tbh i hadn't really thought about it lol

but.... let's say it happens during the search for tsunade arc? orochimaru and jiraiya are both gunning to get her on their side but you know what? the shark man said please. get your shit shizune we're going with these guys if you poison the little red-eyed shit on the way no judgement (kisame: maybe don't though?)

jiraiya is pissed, orochimaru is torn between being amused bc wow and being in agonizing pain bc his arms still don't work, naruto keeps trying to get her to come heal lee (and now sasuke) but she's having none of it so she just throws a file of miscellaneous notes at his head and tells him "find someone with good chakra control and pray" (sakura: omg i have good chakra control!!!!)

weirdly the member of team seven affected most by this is sasuke bc sakura has absolutely no fucking clue what she's doing at first and it takes her like an extra month to wake him up, so he needs to get back on his feet before he can decide if he wants to run off to orochimaru or not. lee is.... kinda sol, frankly. sakura works really really hard to help him out, and she's eventually able to get him to a place where he can do a few things, but by the time she's good enough to really be able to help him it's way too late. fortunately he's adapted somewhat, and being lee he's surpassed what anyone thought he'd be able to, but he's never going to be what he could've been. gaara feels terrible about this ofc but lee isn't the sort to really hold a grudge, even if pretty much everyone agrees he'd be perfectly justified in doing so. gai never forgives tsunade, though, not really.

concerning tsunade's role in the akatsuki.... the thing is, it's her own grandparents who started the whole jinchuuriki mess. and she's seen with her own two eyes what konoha did to places like amegakure; she was part of it. she doesn't like that the jinchuuriki die post extraction, so she starts looking into how to make that not happen, but if she does succeed, it isn't until after the gaara debacle, so chiyo still dies. her biggest motivation here is naruto - she doesn't agree with him, but he reminds her of nawaki, so she really doesn't want him to die if at all avoidable. she doesn't get too involved in the actual jinchuuriki capturing process tho; she's more useful patching people up after.

having said that, she doesn't fully agree with pain and konan's plan, she just can't really think of anything better. tobi tells sasuke about itachi while tsunade is patching him up, and since it's her family that led to this, she's pretty on-board with the whole "fuck this stupid baka village" thing (ofc she's been heading down that path since joining the akatsuki, so this isn't like canon!tsunade suddenly making this call; there's a couple years of character development first), so.... she's effectively on team sasuke at this point, and once he splits from the akatsuki she does as well.

iirc, post danzou, sasuke spent about eight and a half volumes just kinda adjusting mostly offscreen to his recent ert (eyeball replacement therapy), before skewering og white zetsu and fucking off to go accidentally reunite with zombitachi, but aside from decking itachi through a few trees on sight, idk how much about all that would change. immediately after, when sasuke brings back orochimaru, they have an awkward reunion, followed by yet another awkward reunion when orochimaru brings back the four dead hokage. she's both very happy to see her granddad again, but it's hard for her to tell him (and hiruzen, for that matter) that she deserted the village completely, even if she doesn't regret her decision.

now you may be wondering: weren't shizune and tonton also around? yes! but when sasuke went after danzou, they stayed behind, leading to shizune finding and managing to save konan after tobito killed her. there's a potential romance subplot there as well but i accidentally ruined it for myself by saying aloud "two girls one pig" and then regretting my whole life.

the other survival is jiraiya; he becomes hokage instead since it's either one of the sannin or one of the elders, and as much as he doesn't want the job, he really doesn't want them to have it. this in part means he can't go spying in ame himself, although he very nearly does after orochimaru's death gets reported, but instead he sends someone else. that person dies, but manages to get the information back to him (it has to be someone important to naruto, and it can't be kakashi, so maybe iruka? but idk how he'd be in espionage. maybe one of naruto's classmates did spy training offscreen? it's entirely possible with jiraiya as hokage instead of tsunade but idk). since jiraiya isn't a healer, he'd either need to be injured badly enough for danzou to be able to step in without him being able to object, or sasuke would just need to have his fight with danzou somewhere else (so the raikage's arm might survive also).

the final thing is that, unlike in canon, this version of tsunade never got naruto therapy'd, so while she does eventually get over the hemophilia somehow (maybe just existing in the relative vicinity of hidan did the trick), she never really dealt with the grief that caused her to leave konoha in the first place, so that's still very much there. however, i think maybe this could work to the story's advantage - instead of just naruto vs sasuke, it could be naruto and sakura vs sasuke and tsunade. tho in this instance sasuke really isn't alone, and isn't really trying to be by that point. it's more a battle of "do we try to fix the system from within, or do we really need to start from scratch for things to improve in any meaningful way", but ultimately the winner is the realization that four people from konoha not only shouldn't but honestly can't be the only ones making this call. if the world is going to move forward, it can't be dragged by a single person, or even two people. it's gotta be a group effort. idk if the story should go into the details of what they decide on, bc i'm definitely not politically savvy enough for something like that, or just have an open ending leaving whatever happens next up to interpretation.

(sorry this took so long lol i kept having to do things XD)

[atla-what-is-this-site]

Fixing Voltron's magic system FT. Sanderson's Laws of Magic (and examples from various famous media)

Firstly, let's begin with what the Alteans canonically can do. As seen throughout the series, two alteans shown actually manipulate quintessence. Another has super strength but no magic. A final is shown to have none. (poor Coran). It is implied the majority (if not all,) have these abilities. 

Quintessence manipulation seems to have one small limit:  When Allura uses the magic too much, she passes out. But remember: shes powering a giant ship. We never see Team Voltron going and getting gas or whatever, which means Allura is probably the sole supplier of power for the Castle. Which is an example of how OP this ability is, even with the limit.

Then we have super strength and shapeshifting, two other abilities that all (or i guess most, since Coran never shows any signs of having them) Alteans seem to have. These abilities seem to have little plot importance besides a few certain episodes. There is nothing inherently wrong with these abilities. However, when you pile them on top of (if I'm being completely honest,) a character who's already quite over-powered, I think you can understand why I'm not the biggest fan. 

We know quite a bit about Alteans. They're one of the most important species in the series. According to Allura, they're super-ambassadors, and they use their shapeshifting to better blend in. Their culture seems very intellectual-based, with Alchemists holding high places. They mixed magic and tech to make incredible ships like The Castle. 

This is where things tend to taper off. We get brief glimpses of what could be rules: Allura always places her hands on whatever shes infusing. Clearly, you must be Altean or of Altean Heritage. 

Now, let's take a look at Brandon Sanderson's laws of magic. 

Number One: "An author’s ability to solve conflict with magic is DIRECTLY PROPORTIONAL to how well the reader understands said magic." 

This means that if we want to solve problems with magic, we need to explain how that magic can solve our problems. So, for example, Harry Potter. Every spell that Harry uses is explained beforehand so that the audience knows what he's doing. It just wouldn't work if Harry went around Lumos-ing away, making the reader guess what the spell does. 

However, in The Lord of The Rings, Gandalf doesn't need to tell us anything, because he barely ever uses his magic for plot important things. Readers don't want to read three paragraphs explaining how he made his fireworks, when the story isn't about his fireworks.

Number Two: Limitations are more important than power.

What your magic system can do doesn't make it interesting. There's no power that hasn't been thought of. Infinite power makes it impossible to come up with a plot. The character could solve anything, meaning there's no point in telling about the solution to their problem. However, when you throw in weaknesses, costs and other limitations, you get a much more original and interesting idea. 

Picture that one scene from Aladdin, where Genie tells Aladdin about the three rules. (No playing with free will, no raising the dead, no wishing for more wishes.) It's a simple and easy to follow system, with limitations that make the plot more interesting. Aladdin can't make Jasmine fall in love with him magically, so he's forced to come up with other ways. 

Rule Three: Expand what you already have before you add something new. 

This one leans more on general worldbuilding, but what he's saying here is don't shove new ideas in your reader's face. Don't create new magics out of nowhere. Build on what you already have. 

There aren't many examples of this, luckily Voltron isn't really guilty of this, so elaboration isn't really needed.

Now, we'll take these and begin perfecting the magic system. 

First, what is Quintessence? Quintessence is, essentially, the animating factor. It's what makes living things alive. It's a form of energy. 

This isn't to say nonliving objects can't have it, but most don't, unless it's given to them. 

Quintessence is energy. It can't be created, nor destroyed. However, you can transfer it from one container to another. 

There are a few things you can do with it. Firstly, giving a living being quintessence can make them stronger. This is what Haggar does with Zarkon throughout the first two seasons.

Next, taking too much quintessence from someone will "de-animate" them. A.k.a. They die from lack of life. 

There is one third thing you can do with quintessence. It takes a lot of training and a bit of energy. But I imagine you could also make these huge shockwaves that just fucken decimate everything in a 300 foot radius. However this is more after-we-get-ridiculously-good type material.

Our limits are these: 1. You must draw energy from something, whether that be your own energy or someone else's. If you use too much of your own, you could pass out and die. 2. You must maintain contact with whatever you're imbuing with energy/drawing energy from. (The only exception is the shockwave. But the shockwave comes from your hands so..?) 3. Too much quintessence can become an addiction. Specific examples can be Zarkon and Haggar. 

A little interjection: While Alteans have a lot of quintessence, it can only power a small ship for a few hours. However, Altean ships have evolved to collect quintessence from bacteria that gathers on the ship's metal. This keeps the ships sanitary and also helps with efficiency. As well, ships often use Balmera crystals as a secondary source of power. Balmera crystals hold high levels of residual quintessence.

We can construct so many different plotlines that can't be solved with quintessence, or the limits can prevent solution. What if the person who needs healing is out of Allura's reach? What if she doesn't have enough energy?

That wasn't so hard, was it, VLD team?

[retellingthehobbit]

Your retelling, will it be implying a Thorin/Bilbo attraction?

I ask because I just discovered that ship and when I looked it up on tumblr, it led me to your work lolol

Every time someone asks me this I feel more like I'm making a Real Adaptation! I love the idea of people following this webcomic for years while analyzing the gay subtext as if they're waiting to see if Supernatural will make Destiel canon. a powerful feeling. The short answer is yes! The long answer is that it's complicated, and that if you're not a Bilbo/Thorin Person you should still stick around because I'm going to handle it in a very funky way that is not what you're expecting (also at the rate I draw, it won't be "canon" in the comic for approximately 2039482289798334534534534534 years.) Generally Thorin's role in my version of the story is that he's a living embodiment of The Quest, and Bilbo's feelings for Thorin mirror his feelings for the Adventure. When Thorin first arrives at Bag End, Bilbo is overwhelmed and annoyed and confused-- he finds him both fascinating and horribly frustrating at turns, and has no idea how to feel about Thorin in the same way he has no idea whether he'll join the adventure. As the story continues, Bilbo's feelings on the Quest will shift, and his feelings about Thorin will shift as well. I just really love the general idea of a new take on Thorin where he has a bit more pathos and a deeper relationship with Bilbo. I also think the way LOTR retroactively reframes The Hobbit as a story written by 'unreliable narrator Bilbo Baggins' adds to the possibilities a lot! there's a lot of queer subtext in Lord of the Rings, and it's fun to bring more of that subtext into the Hobbit. Tolkien often refers to hobbit adventures as "queerness,' and makes "queerness" the name for the thing that bigoted hobbits are afraid of; the fact that Bilbo has been repressing the "queer" part of himself that he inherited from his mother is, canonically, the thing he's struggling with in the beginning of the story.

I really enjoy the bit in the Unfinished Tales where Gandalf describes Bilbo like this:

And now I found that he was 'unattached' - to jump on again for of course I did not know all this until I went back to the Shire. I learned that he had never married. I thought that odd though I guessed why it was; and the reason that I guessed was not that most of the Hobbits gave me: that he had early been left very well off and his own master. No, I guessed that he wanted to remain 'unattached' for some reason deep down which he did not understand himself - or would not acknowledge, for it alarmed him.

That feeling of not being "out to yourself" and not knowing what it is that you want out of life is just!!! It's just very compelling to me.

Thorin's still gonna die though. Don't you hate it when you have this whole elaborate coming-out-to-yourself story but then your first gay crush is so Problematic he kiiiinda nearly starts a war so you betray him by stealing the Heart of his Mountain in order to prevent that war, but then the war happens anyway and he dies horribly :/. A universal gay experience.

Thorin is also an interesting character to play with, especially because I'm diverging more from the book (compared to Bilbo or Gandalf.) The way I'm planning to handle him is that he's a character we see only "from the outside," from the perspective of other characters, and no character sees every side of him. The dwarves portray him as a noble king; the elves portray him as a haughty arrogant joke, to the point where it affects Tolkien's own "translation" of the story; Bilbo has his own complicated feelings about Thorin, but even his portrayal of Thorin is heavily biased and he never gets to see the full picture.

But yeah-- the Hobbit is originally a very lighthearted story, but I do think there are lot of darker and deeper emotions you could explore in it if you wanted to, particularly if you bring in the metatext of how it's reframed in Lord of the Rings. And I do want to explore those darker emotions! So I am XD. There already was an extremely book-accurate comic adaptation of the Hobbit that came out in the late nineties (though it's super short and the pages are cramped to fit in all the prose)-- so I don't really see the point of being obsessively close to the original novel, since an obsessively close comic adaptation already exists. This comic is for the Weird Queer Overly Emotional Metatextual Reframing of The Hobbit!! Anyway, it's fun.

[aroaceleovaldez]

Tumblr kept breaking when I tried to reply to the ask about this since the post is too long, so answering this here finally:

A non-comprehensive list of misc things I’d change in HoO, since apparently people wanted me to elaborate further (Re: [This post]). Semi-off the top of my head since I don’t feel like re-reading all of HoO with notations right now. Also this will be followed up by a Things I Would Change About TOA post as well at some point, since that was also requested and kept breaking, but my brain is exhausted from getting this post set up so that will wait. I will link it [here] when I complete it.

Going under a read-more cause it’s very long. Literally Tumblr crashed like three times while I was trying to answer the original ask:

As said before (and what is a given):

1. Goes without saying - fix all the distasteful offensive character descriptions/traits. Similarly, fix the whole "these characters inexplicably look down upon their cultures" cause that's stupid and it's really annoying every time one of the Argo 2 crew brings up something about their cultures only to immediately go "but THAT'S SILLY and WEIRD."

2. Remove Calypso from the active plot, rather than the current canon retconning that doesn’t work saying that she was never actually released from Ogygia like she was supposed to be. There's no excuse for why she wasn't, unless it's supposed to be the gods sent Leo to release her to fulfill that promise, but that's not really implied to be the case at all. There's no excuse for the Olympians to just go back on their promise, since Hephaestus is established to visit Calypso regularly and basically is her only friend. It isn’t the type of thing he’d let be overlooked given all the characterization we know about Hephaestus, and given they are explicitly friends it can’t be that Olympus just “forgot” either. Also Calypso doesn't actually add anything to the plot of HoO or TOA besides serving as a love interest for Leo (not even a motive, just a love interest that "fixes him,” because he already has motive in saving Jason from being the hero of the prophecy and helping save the Argo 2 crew/camp/etc from Gaea etc etc.  Leo's romance arc completely derails the established depressive spiral/destructive character arc that's been set up for him and it basically ruins Leo's entire character. He's a tragic character! Let him be tragic until he's done being tragic and then the end of BoO and TOA can be him starting his recovery arc! (I have some thoughts for how Calypso could work removed from HoO but an active character in TOA but that’ll be for the TOA post.)

If Leo still ends up on Ogygia, then have it be clear that Calypso's already left and the island is abandoned (which imo is WAY more narratively compelling for readers of the first series, because you already know the context of the island, but for readers who don't have that context it leads to this being an interesting mystery - who was Calypso? What was this island and why do all the signs/notes left by her imply she wasn't always alone but usually was and was desperate to leave?) and Leo has to collect the scraps left behind to build an escape for himself while he goes through a fun identity crisis. At some point maybe Hephaestus shows up and Leo gets an interaction with his dad that probably does not help his identity crisis and then he goes back to the Argo 2 to have a further identity crisis about how the rest of the crew got along in his absence (a good identity crisis or a bad identity crisis? depends on how they did without him! you decide! I personally like "they managed okay" and Leo feels Really Horrible About That Cause It Feels To Him Like They Don't Need Him. I like Leo's tragic arc, okay? It's compelling.) Iirc Leo’s also the only member of the Seven who doesn’t get to have some kind of direct conversation with their godly parent, at least in-person, so yknow. It’d be nice to have. Also if you want Aro/ace Leo Valdez this is the perfect spot to put it while he's having his identity crisis on Kiss Kiss Fall In Love Island, or when he gets back.

3. Jason's stab wound in BoO is not healed by the Power Of Friendship, and instead they use the Physician's Cure for that so it doesn't feel like they're literally deus ex machina-ing their way to cheating death like 3 times in the same book. It makes more sense to use Potion Of Don't Die on Wound Of Excruciatingly Painfully Slowly Killing You instead of Whoops You're Already Dead, Just Get Better. Ctrl+Z That Real Quick.

Given they already used the Physician’s Cure on Jason, Leo doesn’t die/get revived at the end of BoO. Instead he just almost dies, probably lands in CHB’s woods somewhere, and is found and patched up with the series ending on him being on the mend and starting on the path to healing and getting help for his Numerous Issues that he was putting off for The Entire Series. Which parallels nicely to Nico basically having the same thing (overexerting his powers to near death, ends series getting medical treatment/being on the mend and the indication that he’s moving on to a happier period of his life). Again, grand happy ending rather than aggravating fake-out.

Further notes: 

- Heavily tweak Ella's character cause I get what Rick was going for, but the execution is… not awesome! Please, there's already so much ableism in HoO just. hmm. We can do better.

- Jason and Piper break up in HoO, probably around MoA when they start seeing Percy and Annabeth interacting and after they’ve had time to hang out with each other and realize their arranged relationship is Kind Of Fucked Up, Actually. (Probably something something them having gotten to spend time actually getting to know each other between TLH and MOA while they’re both at camp.) They have no problems with each other specifically and do genuinely like each other, but it just gets really awkward given all the memory manipulation and being set up as a "picture perfect couple" - emphasizing stuff like them both being children of really famous movie stars in their universe, or Jason as a son of Jupiter/Jove (an "all-father" type god) [and Juno - mother figure goddess and goddess of marriage]/"son of Rome" and Piper as a daughter of Aphrodite (goddess of love, also Aphrodite/Venus indirectly is associated as a sort of "mother of Rome" due to Aeneas). They just feel like they have too many expectations being put on their relationship and even though they do both like each other it feels too forced for them, but they’re comfortable staying just friends. This just gives way more opportunity for low-stakes character conflict among the Argo II crew outside of Monster Of The Week Chapter so things don’t feel unreasonably busy and chaotic and we actually get some consistent development. Just a nice mini-arc to follow in the downtime. Also while we’re here, more directly establish Piper’s bisexuality earlier on. If she’s already having an arc where she’s contemplating her romantic life, throw in a couple of nods to like “Piper thinking about her old childhood crush on Shel, the kid of a family friend she’d see when her and her dad visited Oklahoma” or something. Literally anything just to establish some kind of set-up to her getting a girlfriend later. Just for consistency’s sake.

- Bunkernine has a very good post about wishing the Argo II didn't have the magic plates from CHB, which I agree with in concept. Like I was just saying, MoA through BoO lacks a lot of little moments where we get to really focus in on the characters, probably in part because Rick was struggling to juggle so many parties given this was his first foray into writing a major cast that size. We can definitely cut out a lot of the random unnecessary fights and dramatic moments that don't really do anything for the plot and instead replace them with little moments of casual life on the Argo II - the scenes like those that do exist in HoO are some of HoO's most memorable moments to me! And they'd help a lot with how the characters never felt fully and properly fleshed-out. Let them exist as a cohesive group without two-to-three of them being absent at any given time! I don't think we necessarily have to remove the magic plates entirely because they do solve a fundamental problem ("where are these kids getting food?") but like, there is nothing stopping them from still cooking and just using the plates to get ingredients! Let these kids bake or something! Even just for fun! Though also I have personal headcanons about the Argo II crew's cooking skills and I really like the concept of like, during HoH or something at like 3am everybody hears something and they all suspiciously shuffle into the mess hall. And it’s just half-dead Nico standing there in his PJs making food for himself because Dammit They're IN VENICE and he’s FROM VENICE and they DON’T HAVE TIME TO STOP AT HIS OLD FAVORITE RESTAURANTS THAT MAY OR MAY NOT STILL EXIST and he Hasn't Had A Proper Meal In Weeks so By The Gods He Will Make His Mom's Old Recipes At 3am before he keels over from this quest. He just stares at everybody and goes "What are you all looking at. go away." and the rest of the crew just shuffles away awkwardly and leaves him to it. (Is Nico’s 3am meal actually good? Who knows. It is left a mystery.)

- Tweak the god characterizations. Remove the "gods splitting" thing and maybe play more with different aspects of gods/verisons of gods across history/city-states/etc presenting themselves instead. The Roman gods are not wholly equivilent to the Greek gods and it's actually really interesting from a historical perspective, and I think there's a lot you could do with that but instead it gets flatted in HoO which is sad to me. Just generally though, with the god characterizations, like. [uncomfortable pagan noises]. Which is almost impressive because it is difficult to write the Greco-Roman pantheons poorly since a good portion of them are basically just very complicated metaphors turned into personifications and characters. So they work fine for narrative purposes when applied accordingly, and yet! and yet!! Rick managed it! He managed to really bungle it in HoO and TOA. Because instead of leaning into the aspects of metaphors and dynamic characters he just fell into 2D tropes, gimmicks, and stereotypes. Off the top of my head the only deities written Okay in HoO is like. Hades/Pluto and Thanatos. (even Chiron in TOA is extremely lackluster, it's sad.) In the first series it ranges from “okay” to “actually really interesting” so it’s sad to see that drop-off and I would like it to be fixed.

Some potential examples for this: Play with the historical ties combo of like, Athena, Minerva, Enyo, Bellona, and etc! Annabeth and Reyna parallels! if the first 2 books are about the trios, let MoA be about Annabeth and Reyna and both their connections to Athena(/Bellona). Let Reyna be a second half in the Athena prophecy! It'd be cool and fit with her thematically and would set-up the whole Getting-Blessed-By-Athena thing later in BoO and make that scene feel so much cooler!

- Also retcon the whole "Hestia appears as an 8 year old for no reason" thing. And maybe also Artemis only appearing as a teen, because while Artemis has a mythological excuse, Hestia doesn't, so it just feels weird and at worst comes off as a little aphobic (depicting a character who explicitly is uninterested in relationships/romantic love as a child despite them being an immortal god with no basis for appearing as a child or even being comparatively young to other gods) with how it relates to aphobic tropes about disinterest in romance being "childish".

- Remove the "no children of Minerva" thing. Also maybe emphasize the aro/ace vibes there cause Athena being implied to be the only ace character in the entire series who a.) isn't literally a child/teen nor appears as one, and/or b.) hasn't had an unfortunate relationship that makes them disinterested in romance, but also at the same time being the only one out of herself/Hestia/Artemis to have relationships of some sort (having kids, implied to possibly be romantic but unclear) issss bad! actually! Bad tropes, don't like that. (Again aphobic tropes of disinterest in romance being “childish” and something that can be grown out of, or a result of trauma. Also it feels weird that the only a-spec characters in the series are all women. Can we have a male a-spec character please.) Just let Athena be aro/ace and vibing and occasionally having brain children cause she can do what she wants and everyone is aware of this and chill with it (And being a-spec doesn’t mean she’d be disinterested in having kids). Also maybe make her feel less cold cause "a-spec character is cold and loveless" is also an aphobic trope that PJO!Athena falls into, actually.

- Speaking of aphobic tropes, fix the Hunters! Please. Please just redo the Hunters of Artemis entirely. Holy cow. I wrote up an entire alternate oath/rules set for the Hunt because it's just so weird and poorly done. There were male Hunters of Artemis in Greek Mythology! Multiple! And most of them were chill! The "swearing off all romance" thing is also questionable, because depending on what versions of myths you’re looking at it’s potentially implied the Hunters had romantic relationships among themselves. And in Greek Mythology all the Hunters were definitely not all pre-teens. And it feels especially bad that the only adult Hunters we ever see are explicitly ex-Hunters who are heavily implied to be not ace and definitely aren't aro and are also implied to have "grown out of" being disinterested in romance. (That gagging noise you hear is me being sick of how many aphobic tropes the Hunters are juggling).

The version of the Hunters i have written up is, and I quote (from my notes): "Hunters can be any age, species, and gender identity (so long as they are comfortable enough being occasionally referred to as “Huntresses,” “Sisters,” “Maidens,” and etc). Relationships between Hunters are allowed so long as it will not endanger/distract from the Hunt or endanger any other Huntresses. Having a child is not allowed within the Hunt and any Huntresses who wish to do so must leave (purely because having a pregnant person/young child on the Hunt is dangerous, and safety is the number one priority - especially as Artemis is a protector of youth and goddess of childbirth. Once they turn like, 12 they can join, that’s fine. Everyone knows middle schoolers are the optimal combination of bloodthirstiness and ability to wield a weapon)." Also, just as like, a side-thing, I wanna see a clear-sighted mortal Huntress, because we're told thats a thing but we never see them. Closest we get is like ancient semi-immortals and Technical Nymphs, or other Huntresses who are of unspecified mortal/demigod status.

- Similar deal - fix the Amazons. they're… better but still a little wonky.

- Some slight tweaks to the Cupid Scene - Nico still has a confrontation with Cupid cause that is a very compelling scene that works well for Nico's character and informs a lot about him (and serves a purpose in a very meta way - not so much for the plot but reflecting something the first series did occasionally which was a kind of showing an example of a situation, usually a negative situation that either mirrors or directly references a type of situation a kid may find themself in, and explains and shows sympathy for the character being hurt in that situation. Which is notable because the demographic for the series is young middle schoolers and particularly neurodivergent kids, who are probably approaching a lot of new social situations or may struggle with empathy. It acts as an introduction to “unfortunately this is a bad thing that happens sometimes, and it hurts people, which is why you should be nice to this kid. Look at beloved character. Here’s an elaboration on why they’re hurt so you can understand.” So for the purposes of that, the scene of Nico getting outed would likely remain, but it would still keep the very overt “WOW THIS SUCKS, THIS IS A BAD SITUATION.” stuff) Most of the tweaks are just slight adjustments to minor prelude dialogue and/or setting, like. Jason does not forget that being gay is a thing for a second. And etc. But Nico having a very literal metaphorical conflict about grappling with how he views the concept of love by LITERALLY GETTING KICKED AROUND BY THE GOD OF LOVE is actually kinda badass from a narrative analysis perspective. This is exactly what i meant in the previous bullet points about the gods in a lot of myths and classical stories playing the roles of personifications of metaphors and that being used well. Admittedly I'm 50/50 on tweaking Cupid's general attitude in the scene itself, because a more hostile Cupid lends itself better to the meta use of the scene as described before but a more sympathetic-to-Nico Cupid who is nonetheless still kicking the shit out of him is interesting from a metaphor standpoint (something something Nico overcoming internalized homophobia but in the very literal form of it’s the god that literally presides over protecting gay love [yes that is an actual thing Eros/Cupid is the god of] beating him up).

- Remove Reyna's “prophecy” entirely. It's stupid and pointless and doesn’t make sense with her character at all. Just say she's ace. There is not a single scene in any of the series that ever indicates that Reyna believes that she can only be happy if she’s in a relationship and that’s some kind of internal struggle she needs to overcome. The closest we ever get is Reyna being upset that her best friend disappeared and when he returns she finds out he had forgotten about her completely. Which does not apply to the “prophecy” at all. We just don’t need it.

- Absence of "a character" can work! Jason's lack of personality and backstory can work but it works best if it's absence is felt and properly explored. This works best if we get more information about Camp Jupiter from SoN and from the other Roman characters, especially Reyna (and maybe even Nico referencing his trips there!) because that inherently informs us about what Jason's life was like there. Have other characters note things about Jason and highlight the fact that this is absent from Jason's own POV! He's lost that part of his life! It was taken from him! That's such an interesting dynamic to have and explore! But we don't get any of that!

Side-note: Part of the problem with Jason's amnesia is that it feels so awkward especially compared to Percy's amnesia because we already know what Percy can't remember. We have the context that informs his character, even though he can't remember it, so that absence is felt and it feels really compelling! Also, Percy is unfamiliar with Camp Jupiter, and we're unfamiliar with Camp Jupiter, so it feels new and interesting (even though we don't actually get much about it so we never actually form any real attachment to it and that's a problem later on in every subsequent scene when we're supposed to care about what happens to Camp Jupiter but we. don't). The reason it doesn't work for Jason is because we don't know what's absent and we already know CHB. Jason also already knows about demigods and stuff, so if you're a new reader starting at HoO it just doesn't work. Because Jason already knows everything and we're being led from his POV primarily for that portion of TLH, and even Piper and Leo's backstories both heavily include being pushed around by Gaea/and or Hera/Juno, so if you aren't familiar with the universe you're just being hurried along and it ends up feeling weak. At least with Percy even if you don't know the contexts of his backstory, we can feel the implications of other characters referencing things about him extremely often, so you feel the weight of his memories being gone, and he doesn't know about the roman gods and you, the reader, aren't expected to know much if anything about it either. We don’t get the full demigod debriefing (but that's also the second book) but we at least get a Camp Jupiter debriefing. The first two books are a bit messy in those specific regards with setting up the camps for the series, and we don’t really see the camps much for the rest of HoO (except for CHB, of course).

This is personally why I stand by that if we ever get a roman series it should be a three-part series from Reyna's POV, because leading with Jason is basically like trying to lead PJatO with Annabeth - a demigod raised in camp and surrounded by the knowledge of this stuff their entire life. It doesn't work as a character who's acting as an introduction to this world for the reader. There's no real clean way to work that out for HoO unfortunately, since literally all our protagonists are given established pasts involving knowledge of Greco-Roman mythology being real and half of them are either already at camp or have been to a different camp. I'd say best solution would probably actually be leading from Piper for TLH and tweak her character set-up slightly in that she Does Not Know What's Going On At All re: Gaea and the Giants. She just knows Something Happened To Her Dad and she's the POV we follow into TLH, because that mirrors Percy in beginning of TLT well (with Sally being kidnapped)! It's a fun call-back for the old readers and a good lead-in for the new readers.

- Fix Nico backstory inconsistencies caused by Rick almost making his birthday in March and confusing himself over it. He's 12 in TLO, 13 in HoO. He was born January 28th, 1929, and got put in the Lotus Hotel and Casino in 1939 (If you wanna be cute, we can specifically say May 1st, 1939, to reference the musical). Hazel is one month older than him chronologically and one year older than him post-revival. Something something also smooth out the inconsistencies about Nico being raised in Italy and how Maria met Hades and stuff. Fill in the rest as you will.

- I do stand by that the entire PJO timeline is not one-to-one with the real world. That's always been a thing with the series. We're basically condensing everything from ~1998 to ~2020 into an 18 year timeline. We don't need to be exact with things. Don't get too bogged down with it.

- Make the whole "injuries caused by celestial bronze/imperial gold for demigods makes their souls self-destruct" thing specifically relating to cursed weapons/materials or feature some more volatile abomination combo weapons like Backbiter (with Backbiter being described as unstable due to being both celestial bronze and mortal steel). (Ex.: the spear used to stab Jason in BoO is just cursed, and maybe Octavian's catapult plan is a "well i put a bunch of mortal steel and imperial gold in a pot and melted them together a bit and now it really wants to explode so im gonna just chuck the entire thing and hope it kills everyone lots and lots <3" which is tbh significantly more dastardly and fucked-up, which makes Octavian a bit more compelling). Having it just be a plain trait of celestial bronze/imperial gold doesn’t make any sense and is only referenced like twice in HoO and never again in basically the entire three series. Again: consistency.

- Make a more prominent reference to the whole "btw there are retired adult Romans just living wherever but they're legally required to help any campers who request aid" thing, cause you could totally do something really fun and cool with that but idk what.

- PICK A THEME! First series theme was family! Second series theme is….. we don’t know! It felt like maybe a theme was intended at some point but we lost it. Forging a new life for one’s self/choosing your own path/etc could be a good theme, or something similar. or found family. or both. We’ve got a bunch of characters absolutely ripe for “I didn’t think i’d get this far and now I have to like, actually consider what i want to do in life. huh” arcs! (Frank! Leo! Hazel! Jason! Percy! Nico!) Do something with that!

- Lean more into the characters having aspects inspired by myths, or legends being mirrored in plot points: 7 against Thebes, the Argonauts, etc etc etc. The first series leaning into it heavily worked really well! More of that! HoO and TOA suffer a lot from lack of mythological basis to lean their plots on, despite there being plenty to work from. It instead just kind of messily mashes random misc myths (haha, alliteration) together into a very incoherent plot. Annabeth is known to be explicitly based off Atalanta, Percy is mostly based off Perseus and Theseus, Leo has loose connections based off of Demophon of Eleusis and possibly also his brother Triptolemus, etc etc. There’s stuff to work with! Poke around at the mythological figures of the original Argo and maybe match them up a bit (though most of the Argonaut myths were used in Sea of Monsters, so focus more on the figures/archetypes rather than just exact myths of what they did. For more plot-things, maybe consider Seven Against Thebes, though admittedly the plot of that is just Kinda Depressing.)

- Slightly related to that - lean into Piper presumably mirroring Orpheus! Or even if she isn’t supposed to, let her do that, because it fits with her thematically SUPER well. Her charmspeak is OP and that needs to be appreciated. In canon she brings Jason back from the brink of death in TLH and just straight up gives Festus a soul/free will/sentience. Let her go Orpheus-mode on everybody. You can even tie that in with the half-hearted snake theme that Rick tried to throw in there that didn’t work at all. We can make this work, just lean into it. It’ll be fun.

- Remove scene of Nico confessing to Percy at end of BoO. it’s just. random and feels sudden and OOC. Give Nico time. You could maybe replace it by having him come out to Reyna on his own terms while they’re on their quest discussing their adventures thus far and them having a very sweet little emotional moment rather than it being a weird out-of-place afterthought comical scene.

- Remove Bob and Damacus. They’re just half-literal dues ex machinas for Percabeth in Tartarus that don’t make sense. It feels extremely cheap and doesn’t fit with the established mythos of either figure (and Bob feels extra awkward without the context of knowing Sword of Hades). If they do run into a figure who helps them out in Tartarus, Arke could possibly be a good option - especially since in SoN Percy meets Iris. There’s a lot potentially you could do there with Percy mistaking her for her twin and stuff like that. If we want a figure to more-so take the role that Bob fills (Nico encouraging an immortal to be sympathetic to Percy and thus indirectly helping him later) that role could be filled by Nyx instead of making her a minor antagonist - imply Nico encountered Nyx in Tartarus or something and she took pity on him as someone who also understands the dark, and he told her about Percy and so Nyx is willing to help Percabeth escape. Plus imagine how COOL a Nyx & her children vs Tartarus/Titans/Giants fight would be. That’d be a significantly more memorable scene than the Tartarus fight scenes we did get. (“Why would Nyx help though?” One of Nyx’s kids is LITERALLY a goddess of friendship [Philotes], we have excuses.)

- On a similar note, this is more of a TSATS thing, but for goodness’ sake STOP THROWING CHARACTERS INTO TARTARUS. You’re overusing it! It only works when we use it sparingly! In fact, just in general Tartarus works better the less we see of it! Nico going through Tartarus once in SoN-MoA, yes, that works! Especially since we have almost no idea what happened to him down there, just that it was Terrifying and Horrible and he Barely Survived. Not going into much detail means we get more out of it. The only exception to that really was when Percy realized that Nico saw Tartarus as it truly was the entire time, because that’s one hell (ha) of a punch to the gut in terms of added information! Percabeth falling into Tartarus in MoA? Eh, fine, sure, because we’ve established that Nico (who is implied to be more resilient to that environment on virtue of being a child of Hades) talked about his experiences down there so they know what to expect and how to survive. Though it does kind of just feel like Rick went “Oh wait hey I can use this to make angst!” and then overused the hell out of it. It feels way weaker in general in HoH because of how much detail we get, because Tartarus has been built up so much until that point that literally anything we get will feel lackluster in comparison, especially with how it kind of feels like Percabeth just. breezed through it with little more difficulty than they’d usually face on their quests. Solangelo jumping into Tartarus in TSATS is honestly just a blatant “Oh boy we can make Solangelo into Percabeth 2!” and it doesn’t work at all because NICO HAS ALREADY BEEN TO TARTARUS.

The only way you could make Nico going into Tartarus two times work is if he fell into Tartarus a second time to replace Percabeth falling down there. Because we’ve established he knows what it’s like down there, he survived it once, and he is actively sparing someone else he cares about from suffering his same fate. And then he can return once again even closer to death and A Little Fucked Up and it turns into a rule of threes where we know “Oh, Nico can’t go back to Tartarus again because if he does he’ll Lose Himself Completely” which is way more interesting than romance angst for the sake of romance angst. Especially since again, we don’t see it, it’s all only implied. Also it then also turns Tartarus into even more of a “Nico is probably the only demigod who could ever even hope to survive Tartarus” which keeps Tartarus as an ominous thing. Percabeth falling into Tartarus lessens that by a lot because it implies that it doesn’t matter that Nico is a child of Hades; that had absolutely no bearing on his ability to survive down there. TL;DR: Stop throwing characters into Tartarus. Either throw Nico in twice in a row and no Percabeth or Nico and Percabeth once only and never touch it again.

- More heavily set up Percy’s emotions/mood/etc being influenced by water around him. If we keep most of Percabeth in Tartaurs, then this would really make the Achlys scene pack a bigger punch. Up until HoH everything is “oh how quirky” but the minute Percy’s surrounded by the rivers of the underworld and the acid/poision you get hit with the “oh shit” realization that Percy Is About To Get SCARY.

- Maybe have Annabeth keep her blindness from Tartarus, or trade Jason having glasses to her having glasses as a result of that, since vision is actually an aspect of Athena so it kind of fits her more, thematically-speaking.

- Change the judo flip percabeth scene in MoA to Annabeth picking Percy up and spinning him around in a hug/swinging him into a dip cause that’s cuter, makes more sense given Percy’s PTSD, and still highlights Annabeth being very strong and showing off in front of the Romans while they’re still being lovey-dovey.

But also, related to that, you could potentially make a sub-arc for Percabeth throughout HoO (so that they actually have like. some type of character development that fits them rather than them feeling stagnant the entire time) about Annabeth learning she doesn’t know as much about Percy as she thought (learning about Gabe [since as far as we know she actually doesn't know much if anything about that!], seeing his behavior change with different types of water, etc) kicked off by the judo flip scene, and possibly vice versa (Percy learning more about Annabeth’s time spent traveling with Thalia and Luke, growing up at CHB, her relationship with Athena and other campers at CHB, etc) so they gain a deeper understanding of one another. If Percy keeps his curse of Achilles, that could also factor in (contrasting Percy’s “perfect” image [relationship, near-immortality] against Annabeth realizing she doesn’t know as much about Percy as she thought [could also parallel that dynamic to Jaspiper, which opens opportunities for Annabeth/Piper and Jason/Percy bonding] [Or Annabeth/Jason and Piper/Percy bonding! I want more Annabeth/Jason and Piper/Percy parallels so bad. They’re almost there but we never get them. Please.]/ the Argo II crew learning about Percy’s past) with Percy being more prone to seek out conflict or solve problems with violence due to the Curse of Achilles and eventually recognizing that [possibly after Tartarus] and it scaring him just as much as it frightens Annabeth. Maybe at that point Percy tries to make some sort of deal to rid himself of the curse.)

- Maybe also explicitly parallel Percy getting the curse of Achilles with Nico’s help to Poseidon giving his lover Caeneus iron skin. There’s no really smooth way to do it, but maybe even just a during Nico’s pov him going “I heard about this myth once and got an idea. It didn’t work.” Just for that added through-line of connecting the series and further establishing “yeah, no, Nico’s been gay this whole time. this isn’t a new thing. we aren’t pulling this from thin air.”

- Give Piper a different weapon than the knife from the beginning cause she stops using it eventually anyways. Also just... no cornucopia. That part is just stupid and there’s no point for it. If we have to keep it as a plot object, give it to someone else - Nico could work because then there’s actually at least a valid relation there regarding his godly parent (yes, Pluto sometimes has cornucopia associations). Also Nico having a cornucopia would be kinda funny in a subversion of expectations thing. Maybe even have Nico go on a little exposition-y rant complaining about Hades/Pluto versus Plutus (the Greek god of plenty/wealth, later merged with Pluto).

- Similarly, either remove Diocletian’s scepter (if we have multiple characters who can boss around skeletons, why do we need an entire separate extra object whose sole purpose is to let them boss around skeletons?) or let Nico keep it but it loses its abilities, so it’s literally just “well now he has a cool bashing stick for bashing things.” Or let him use it as a cane to highlight him being disabled!

- As I slightly touched upon in a previous bullet point, give Piper more connections to her dad’s community in Oklahoma - where’s all her family friends? Tristan is a major pop culture figure in the Riordanverse, so it’d make sense that people from the community he grew up in would like. know him? But all we ever hear about is Piper’s Grandpa Tom. Even though apparently Piper is already good enough friends with Shel presumably before Piper moves to Oklahoma that the two start dating soon afterwards. Heck, again, have Piper reference Shel specifically. Just at any point. For any reason. Just to establish that she knows people her own age that exist outside of CHB.

Similarly, flesh out the background Romans in Camp Jupiter more in SoN and possibly also BoO, particularly the ones Jason references by name but we never see anything of, besides at most maybe more background references. Highlight them either through the SoN trio interacting with more characters while at camp (and we’re left to glean specific details of Jason’s past through others, which would make Jason more compelling and how these details are absent from himself but present to those around him, playing into his memory loss more) and possibly also through Reyna (and maybe Nico)’s POV(s) in BoO. (And maybe if we get a Reyna POV in MoA, then there as well).

- Let Reyna use magic! We establish that she studied under Circe and then never see anything come of that other than referencing her Tragic Backstory™. It could be a fun point for Reyna and Hazel to bond over, even!

- Remove the random “Hunters of Artemis death fodder” scene with Orion in BoO. There’s no reason for that. It’s just kinda dumb and feels bad given it’s basically just “We’re gonna kill a bunch of nondescript allegedly a-spec coded characters now for no reason. <3” like ???. That served no purpose. It just felt weird.

- Also just as a like, logistics thing - change the route Team Statue takes in BoO from the huge jump over the Atlantic into Peurto Rico into them traveling up into like the UK, then over to Iceland and Greenland and then Canada and down the east coast rather than the huge jump and up the east coast. The smaller jumps make more sense given the entire POINT of their quest taking as long as it does is that Nico can’t make extremely large shadow-travel jumps at that time. Plus if they’re traveling south then they could pass through Maine and we could maybe cameo Nico’s old school and that’d be fun. The pit-stop in Puerto Rico doesn’t really give us much that we couldn’t have just gotten from Reyna explaining it anyways. If they pause in Maine that can be where Nico and Reyna have a heart-to-heart about their tragic backstories and past experiences with horrible ghosts that they had to exorcise.

- If Team Statue travels a northern route we can make jokes about Nico learning specifically 1930s British English before he moved to America. The gang goes to London and Coach proceeds to incessantly make fun of Nico for not only using British slang, but using OUTDATED British slang (which is made weirder given he doesn’t have a British accent).

- Also extremely tiny detail but a specific acknowledgement that Piper was helping out Nico once they got back to the ship when Nico’s getting rescued from the jar. Since Piper just kind of drags him off-screen. Just any kind of follow-up to that. Like Nico doing his classic “You were vaguely nice to me. I would now Die For You.” Just them having basically any kind of interaction or acknowledgement of that scene, mostly cause I think it’s funny.

- Let Annabeth keep her laptop, and get rid of the sphere of Archimedes cause it just feels kinds pointless and random? We don’t really have any emotional connection to Annabeth’s laptop (and her hat gets replaced in Demigods & Magicians anyways) so her losing it doesn’t really feel impactful at all. Maybe have Leo use Annabeth’s laptop while she’s in Tartarus and that acts as the point of guilt for him rather than weird random curse stuff with a random new introduced object. Instead of “oh no fortune cookie thing or whatever” it’s him feeling guilty he saved Annabeth’s laptop but couldn’t help Annabeth herself. Especially since Leo would also have his Ogygia identity crisis in the same book so he can feel extra bad about himself for a bit, to lead up to his role in BoO nicely (sometimes a character negatively spiraling is more narratively compelling than them having positive development for the majority of the series and that’s okay! Let him be tragic but again he gets a happy ending and an implication post-BoO that he’ll begin a road of healing/recovery surrounded by loved ones. It works out.) AND there could be a very sweet moment once Annabeth gets back from Tartarus and Leo gives her the laptop back and it’s a huge relief to her that one of her prized possessions was in safe hands while she was gone and that she has it back when she thought she might have lost it.

- Further highlight Jason’s whole Greek/Roman/etc identity crisis. Bonus points if we go further into acknowledging Jupiter/Zeus’s epithets and roles and Jason having some epiphany that the Romans look to him with the expectations of Jupiter/Juno as king and queen of the gods making him some kind of perfect leader, but he’s not that at all. He’s the son of Jove and Juno, father and mother of the gods. He doesn’t want to be a general or praetor or anything like that, he wants to spend time with his friends and family at a summer camp where they’re safe. He wants to regain the childhood he lost being raised as a perfect soldier and get the chance to go to school and learn about his long-lost family and do cheesy summer camp activities. He is a wolf but he is not a creature built for the hunt - he is part of a pack.

- Touched upon it briefly in a previous bullet point but Curse of Achilles can stay/go, does not particularly matter to me either way. I do think it’d be funny though if Percy does keep the Curse of Achilles that he also randomly gets the Nemean Lion’s pelt back. Initially maybe as like a gift from Hera/Juno to help him cover his Achilles’ Heel while he’s running around with no memory just as insurance so he doesn’t die (with bonus points of the Romans being introduced to Percy either wearing the stupidest looking coat ever or wearing just a straight up bullet-proof lion’s pelt, which would even further solidify his “Are We Sure This Guy Isn’t A God In Disguise” vibes). But then later on into the series it’s just kind of part of his outfit or maybe even a running gag. The praetors have their magic bullet-proof cloaks, Percy has a very silly looking bullet-proof fur coat that is sometimes a whole lion.

- Keep Hazel’s blackouts. There’s not really a reason for them to disappear altogether for her? They’re somewhat tied to her powers and are a consequence of her coming back from the dead, which also helps keep the concept running in the series that death is a consequence that can’t just be easily evaded, even while we’re operating with the Doors of Death being open. That way future deaths in the series don’t feel like they could be as easily negated/avoided. Also, Hazel is disabled! This is a disability of hers! Why are we somehow magically getting rid of it without even an explanation as to why? Heck, if we’re getting rid of Piper’s knife, Hazel’s dreams when she has her blackouts could be used to supplement the dagger’s insight into the future, since we’ve already established that Hazel gets prophetic dreams sometimes anyways. Also fun thematic matching for the Death Sibs with them both having disabilities and random ways to glean the future (Hazel’s blackouts, Nico talking to ghosts). Her blackouts would probably improve slightly over the course of the series but never fully disappear, and it ends up mostly a thing of she can tell when they’re about to occur and prepare quickly for that or let someone know before she passes out.

- Get rid of Frank’s curse in SoN instead of waiting until The Tyrant’s Tomb. If we’re going to get rid of it eventually anyways, do it during the big scene of him freeing Thanatos. Let him have his cool big moment of embracing his destiny and that breaking the curse the first time he does it rather than him doing it twice but it only breaking the curse the second time? Also if the curse is broken earlier on then Frank’s entire arc gets to be about him realizing he has a life to live, since in SoN a major part of his character is that he’s not afraid of death because he’s used to the idea that his curse could kill him at any point. He’s actually pretty reckless for the beginning of HoO because of that. If he realizes that he no longer is at risk of dying at any given moment because he thought about candles too hard, then that opens the opportunity of him having a whole existential crisis about what he actually wants to do with his life and him looking to the future for once.

Bonus opportunity for this - maybe Frank actually gets fire powers as a result of his curse breaking. Ares/Mars has an association with fire so it would fit for him as a son of Mars. Plus, then we could also have an even more overt dynamic of Frank and Leo acting as each other’s parallels and foils and the two of them slowly growing more used to one another and actually becoming close friends. Lots of bonding over getting used to their fire powers and overcoming their mutual fears of fire and probably also solidarity in having lost their moms. Just - the boys are bonding! The boys are bonding. Fire boys hours.

- Related to Frank’s curse, give Hazel and Frank parallel narratives of them realizing they have a future ahead of them (Hazel re: getting a second chance at life and Frank re: realizing he’s no longer at risk of spontaneously combusting) and them grappling with trying to figure out what they want to do with their lives and how they want to live them after everything is said and done. And also being motivated for once to make it out the other side in one piece because they’re determined to not waste the opportunity they’ve been given. The two of them coming to terms with realizing they have a future if they can make it through this (which is also a fun contrast to Leo and Nico actively almost sacrificing their own lives for others and having essentially an opposite character arc for the majority of the series).

- Especially while Frank (and Hazel) are having these arcs, going back to the idea of Leo getting stuck on Ogygia alone for a bit - very strongly contrasting the arcs of Frank’s mental health improving over the series while Leo’s is very steadily decreasing (until BoO at which point again the series ends with Leo getting help and beginning to improve/heal).

- Also further emphasizing Leo and Nico’s parallels throughout HoO. They’re both autistic on top of the usual adhd/dyslexia and have issues with social interactions and care a lot about Hazel and are having a majorly bad time throughout the entire quest and are pretty depressed, etc etc etc. Again, parallel narratives at the end of BoO with them healing and things looking up for them - I think I’ve mentioned that like four times now you get the idea.

- Make Frank ADHD/dyslexic. There is literally no reason for him not to be and him being the outlier for being neurotypical feels weird and doesn’t fit with the literal entire worldbuilding we have for demigods. If it’s part of “demigod instincts” or whatever then Frank should be ADHD/dyslexic! And it’s not even a “the Romans aren’t ADHD/dyslexic” because we’re explicitly told they are! They are specifically also ADHD and dyslexic! So why isn’t Frank? There’s no reason. It annoys me.

- The Frank/Hazel/Leo “love triangle” can stay but it’s significantly more one-sided. Frank is mostly just intimidated by Leo for multiple reasons (mostly fire-related reasons) and Leo is mutually intimidated by Frank (because Frank is bigger than him and Leo is scared of everyone, really, but especially people who are bigger than him, because they could beat him up. Which is basically everyone). Hazel is not romantically interested in Leo and Leo is not romantically interested in her, though they are very close and do have a very confusing time trying to figure out the whole Sammy situation. Frank still misinterprets this as Hazel and Leo being romantic. Leo does not realize Frank is misinterpreting that as them being romantic and think Frank just hates him for the general reasons that Leo has found people usually hate him for no reason over. Leo wants nothing to do with that situation though. Eventually they all sort it out and become a very strong trio.

- Again as I briefly touched upon before, maybe give Reyna a protagonist role in MOA if not an outright POV. Probably an outright POV, with the main POVs of the book being her and Annabeth. Again, themes of historical associations between Athena and Bellona and playing with that, alongside making Reyna more of a prominent player earlier on in the series and letting us see more of the Romans. Use this opportunity to heavily parallel her with Annabeth (and also highlight her parallels with Percy, and Annabeth’s parallels with Jason).

- Really I just want more Annabeth/Jason and Percy/Reyna parallels. There’s so much you can do there. The blond(e) gifted kid/smart aleck raised at camp and their best friend, the former newbie raised with a difficult home life. Percy and Reyna both have dogs (Mrs. O’Leary / Aurum and Argentium) and pegasi (Blackjack and Skippy). And a sibling they don’t see often (Tyson / Hylla).  You could have notes about Jason and Thalia and Annabeth and the dynamics within that and how those internally parallel each other. Or more about when Reyna encountered Percy and Annabeth while on Circe’s Island. Really anything more about Reyna’s time on Circe’s Island. Heck maybe you could parallel that to Percy’s difficult time in school, since Circe’s whole thing was that she was training the sorceresses living there, so that’s kind of like a school environment. Paralleling first quests between Reyna and Jason with the events of the first series with Percy and Annabeth.  Etc. etc. etc.

- We are taking BoO and just. Throwing it out the window, really. We don’t have time to unpack all of that. Just start mostly from scratch, same extremely rough overarching elements are there.

- Also actually just. Rework the whole main prophecy too while we’re at it. It kinda sucks. It’s just kind of a weak prophecy. “To storm or fire the world will fall” or whatever; we can do better. I don’t have the brain power to write a better prophecy right now but just [see my recent post] for notes about what I think makes for a good prophecy in the series and why the main HoO one is kinda lame.

Footnotes:

Again, I will be following this up with part 2 electric boogaloo: Things I Would Change About TOA* (*That I can say without spoiling Deadangelos too much) at some point and I will link that when I make it. If you made it this far, gold star.

[gingergofastboatsmojito]

The C person is a Beningn Narcissist

Carmy is her chosen victim.

She loved-bombed him.

He fell for her because he was vulnerable.

Disclaimer: This meta might already exist. However I tend to avoid reading about the C person, so most likely I avoided it unless it was from a mutual and crossed my way when I was in an extremely good mood, because otherwise I just can't stomach reading about her. But I doubt I'm the first person on Tumblr who noticed she's a narcissist as it can be seen pretty much from outer space. That being said, I will go for it because I have been sitting on this post since I spotted the triangulation she pulled with Tiff on June 26. But also, writing about her feels like pulling teeth to me. So wish me luck. Here I go:

I have been going over this massive black hole from Carmy's perspective on multiple occasions already:

Stuck in her mud

Backfire

He let her take the wheel

And barely edging it from hers:

Her reverse psychology

Her dark side

Source: Psychology Today

From the outside, it's quite easy to spot her first red flag 🚩when she didn't take the "wrong number hint" and bulldozed into his life. Obviously, Carmy didn't, and let's not say the C person is unattractive or downright unfuckable because that would be not only mean but also inaccurate, she's the kinda woman a guy who barely ever gets laid would be all over if she was easy and willing, which she was, even if that guy wasn't Carmy. No man with a pulse would resist a woman like that who wanted to get into his pants so badly. So Carmy was no exception. Let's not blame it all on his mental health and on Syd never giving him the slightest hint that she was interested in him as anything other than a business partner at that point. Let's be realistic.

Well, turns out that not taking the phone number hint was not her only NARCISISTIC red flag that showed her 0 fucks given for other people's agency. The list went on and on... The other one was the party she "invited him" to, basically manipulating him in the car to accept the invitation, etc. I will not go into all of her red flags because I'm positive that they have already been covered by all Sydcarmy truthers since S2 premiered.

What I will say is that those were not just red flags, they were narcissistic traits and in her case, since she's a caretaker and works in the healthcare industry, specializing in Emergency, plus she triangulated with Tiff to spread HER SIDE OF THE STORY after being broken up with in a really fucked up way to play the victim in a passive-aggressive fashion, typical of her kind, she could very well fit the criteria to be profiled as a Beningn Narcissist and that would make Carmy her victim, not her boyfriend.

It's important to clarify that having Narcissistic personality traits or a Narcissistic personality and having a Narcissistic personality disorder ARE NOT the same. I won't elaborate on that one either but FYI narcissistic TRAITS are present in 70% of the world population yet NPD only affects a much lower number. I don't cite references here because most narcissistic cases are sub-clinical, which means they do not show up in consult. So all the figures that authorities have are estimates.

That being said, the C person is a clear case of a sane person (no disorder can be diagnosed based on what's canon) who does show multiple traits that can effortlessly typecast her character as the Bening Narcissist type, which would definitely be a type that would feel attracted to someone with the dysfunctional psychological makeup that Carmy clearly has.

Again, I would rather stay out of that angle, what I will do now though, is go over all the red flags from a behavioral perspective to get to the point that actually concerns me, which is: Why is Clairmy doomed.

Her cluelessness about Carmy's unwillingness to remain in touch with her by giving her the wrong number is nothing but LACK OF EMPATHY.

BTW: his first response to her asking for his number was to give her the wrong one, but his second one was ALSO NO, repeatedly:

Her convenient "My cousin bailed on me." was nothing but another manipulation and ENTITLEMENT because she put him in a place where he was gonna look like an ass if he said no, so she assumed he was gonna agree to it if she played that card and she wasn't wrong. Of course, she wasn't, she must do this just about dozens of times a day, she's a fucking pro at it.

Not to mention her "little entitlement joke" as subtle as a bull in a china store:

Her childlike attitude is nothing but GRANDIOSITY in disguise:

She tries to mask everything with humor and sympathy, but her dysfunctional behavior is anything but funny and Carmy eventually noticed when he noticed she was absorbing him completely to the point where he had to choose between her and Syd the restaurant.

Had that been a healthy/functional relationship, he wouldn't have had to choose because they would have seen each other maybe once a week and talked every now and then like a normal couple that is in the early stages but she LOVED BOMBED HIM. She spent every spare minute she was not at the hospital either at his place or texting him. We don't know if Carmy stayed at some point at her place too, but that is plausible.

These narcissists only talk about themselves or work to make your story, or what you are saying, about them. There's no way I'm gonna rewatch and record the scene where he tells her that Sunday is his least favorite day of the week, but you sure know what I'm talking about. And it's extremely likely that such a sequence was very common between them. Those "talks to get to know each other better and share, etc..." always ended with HER anecdotes, where she looked like a heroine without a cape. I bet.

These benign narcissists have a superficial immaturity and often resemble teenagers, as they don't have emotional maturity, which is also why Carmy and her felt this mutual attraction since they were young. They were always a match.

He's also an emotionally immature person, but in his case is a trauma response, not a narcissistic trait. I went over his immaturity here.

But Carmy is changing. He's learning the hard way.

Bonus track: She's the predator, he is the prey.

I wanna point out how Claire displayed predatory behaviors, viewing Carmy as her prey because by overruling his consent in giving her his personal contact information and then love bombing him as I explained above she was trying to own him, not just be with him. She was trying to take over every minute of his time, which is what we saw in S2 and gladly ended like this ↓

But it could have very well ended like IRL, where the prey is completely isolated from their circle and loses friends, family, jobs, etc. Before they notice, their entire world revolves around the predator, which makes them stick by their side because is not like they have anyone else. The prey ends up with an empty life where the predator is their only company, their only "friend", their only link to any social life. As you can imagine ending and leaving those relationships is complicated and it's also usually devastating for the "prey". Carmy didn't take it that far, thanks to Cicero's intervention and because he was actually already "taken" by Syd. Otherwise, the story would have been quite different. Carmy's walk-in breakdown also helped. That trauma triggered the crisis that brought to the front of his mind all the reasons why C is not and will never be the person he should be with, not because she represents amusement and enjoyment but because she represents a mirror that will forever reflect and replicate his own dark side, the dark side he wants to break free from, for Syd and for the star he feels he owes her.

B side: How do Narcissists pick their prey? Narcissists feel attracted by people's strengths and talents because they feel their "prey" makes THEM look good. The trophy wife/husband is a typical accessory these types love to wear and collect. If we dig into C's past we will most likely find many "Carmys", possibly doctors, professors, etc. Narcissists feel attracted to those who validate their feelings and are docile so they can get their way with them. This was the test and Carmy failed, which gave her the greenlight she wanted and needed to do her thing:

Had Carmy stood his ground, she wouldn't have considered him "prey material". The second test came seconds later when she asked him to help her move her thriving mother's boxes out of nowhere. Again, she pushed and he didn't stand his ground, she advanced. And that's how she was testing him over and over in every interaction to see how far he let her go, the further, the more his prey status consolidated in her eyes. Otherwise, she would have lost interest in him pretty much immediately, and in her version of the story he would have been a piece of shit who lied to her from the get-go and that would have been the story that she would have made sure got spread around. Narcissists feel attracted to people who overlook their shortcomings and won't leave them high and dry because they want to foster a co-dependent relationship with their prey for the reasons aforementioned, and C did that in the car, at the party, etc. She was open about certain things that she did in her past, strategically breadcrumbed for him to think of her as "real and honest" but also a test to see how he reacted to them, he let them slide. He didn't see a red flag in her circle of 30-year-old kleptomaniac teenager-like friends who threw a party mid-week and played with fireworks in a backyard till someone called the police on them. Again, Carmy FAILED the test, which greenlighted her.

I won't elaborate on the following concepts because they are painfully obvious: Narcissists are attracted to people with low self-esteem and co-dependency issues, which is exactly what due to his history of abuse with Donna, that is the only abuse she knew about but it's only the first one on Carmy's record because Chef Fields came next, she knew Carmy fit these criteria. Jeremy recently said in an interview that there's a co-dependency issue between his character and Jamie Lee Curti's and of course, there's Donna’s alcoholism → Narcissists are attracted to someone who has already UNSUCCESSFULLY DEALT WITH another narcissist because that is precisely what entails the low self-esteem and co-dependency issues they need their prey to have so they can succeed in predating on them.

All of these behaviors or red flags are obviously operated from an unconscious level. C is not deliberately and consciously choosing to do any of this. She's soooo used to operating on this level that this is exactly like breathing for her. The break-up with Carmy may or may not be a wake-up call for her but no one can change personalities. Either way, IDGAF TBH.

Remember to follow my tag #Gingerpovs 💋

[lostacelonnie]

oh right i meant to elaborate on this

so, for those who might not know, the basis of plato's philosophy is that what we perceive as reality isnt whats Actually real. the real world is the world of ideas, physically unreachable from ours.

an idea is essentially a very general concept of something, and everything in our world tries to imitate ideas, which is how we get physical objects. for example, physical objects would be Specific kinds of tree, or individual ones, while the idea would just be A Tree. ideas are eternal, perfect, undefined and unchanging, which is why physical objects fail in their imitation of them- theyre too individually distinct.

and, you know how misteln is canonically described as an Idea? yeah! shes, or rather she was, the idea of a schariac.

i say she was, because [at least in my opinion] misteln's character arc is actually about ceasing to be an idea: because look. right after her "birth", she really Was the model of a schariac- selfless, kind, and always trying her best to save everyone [even if, due to unique nature of her existence, she wass unable to do so]. she didnt even have a first name; "schariac" was all there was to her.

but she met alexandra, and was given a name; she joined the world serpent, and was given another. she developed herself as a new person, and during this period she didnt actually associate herself with her last name, instead going only by "hare". and undeniably, she became. Really Weird. just a deeply bizarre person. but thats the point: shes a PERSON, even if she can never quite understand humanity. but shes still an individual, with her own history, her own personality and mannerisms and views on life. and especially after moon arc, when shes no longer bound to her duty as a part of world serpent, id say it wouldnt be accurate to call her an Idea in the truest sense of the world, not anymore.

[channelsurfer02]

You know, my personal version of Juliana from Pokémon Scarlet’s character, Juliana Ysgarlad (truly I am a bastion of creativity lol), has a whole thing where she is the one member of the crater friends group that has social skills. Everyone else has either average or lower social skills, while Juliana just casually interacts and befriends everyone, even teachers. Just, max charisma build. This charisma also translates into her having a past as something of a schoolyard scam artist, as at her previous school, she would scam her classmates and even went as far as setting up a gambling ring in the school's basement. She actually got away with most of this and is a bit paranoid that Director Clavell knows (he doesn’t). She doesn’t do this stuff now, since her and her mom’s financial situation is way better now, though she still tends to make bets with her friends, will look for any way to make money out of habit, and is prone to trying to wring any cash she can out of a situation, will bullshit people for shits and giggles, and is, by her own admission, the absolute LAST person you want to give any form of political or administrative authority because she would become ludicrously corrupt.

She also, despite all appearances, is only a year younger than Nemona and is VERY sensitive about her height. Suffice it to say, she is NOT fond of how Arven calls her little buddy. She also really likes collecting hats. Like, REALLY likes collecting hats.

Also, she has common interests with each of her friends. Like Nemona she loves battling, though she gets more of a thrill out of the whole “outwitting the opponent” angle than Nemona’s battle mania. Appropriately, a lot of her battle strategies involve baiting her opponent, predicting their next move, and using psychological warfare. Predictably, she had trouble with Larry and Grusha given their respective personalities. She also initially agreed to be friends with Nemona because her parents were clearly loaded, what with them meeting outside of her family's massive house. However, Juliana quickly came to appreciate Nemona's energetic personality and was fairly receptive to her battle junkie tendencies. Juliana also may or may not have developed a slight, itsy-bitsy, positively minuscule crush on her rival over the course of the gym challenge, which she is making zero progress on since her approach to romance takes a page out of Kaguya Sama Love is War and all the subtle, flirtatious mind-games that entails, while Nemona also has a crush on her but is oblivious to both Juliana's advances and her own feelings.

Like Arven, she loves good food and enjoys cooking. The two often trade recipes and even go hiking together after all they get all the herba mystica. She also enjoys lording her and Arven's status as the most in-shape members of their friend group, as Nemona has canonically cruddy endurance and Penny is a former hikikomori, while Arven lives a pretty healthy lifestyle and hikes a lot and Juliana has had a long and storied history of "free-style competitive cardio" at her old school. Juliana refuses to elaborate on what she means by this when Arven asks her.

Like Penny she’s a massive anime and video game nerd, though she’s more prone to attending nerdy social events like conventions and hanging out at nerdy stores (she frequently drags Penny to go to such things). She also will never let Penny live down her not figuring out that "Clive" was Clavell (she also constantly called "Clive" Clavell during operation starfall and only called him Clive after the mission was done just to annoy him). She also was genuinely disturbed that Penny went as far as to hack the Pokemon League Point System, since for all of her con artistry and delinquency, Juliana never actually did anything that big or that illegal. She also has a Welsh accent, since she’s from Galar originally and Gloria already has a monopoly the whole “Scottish pokegirl” thing in the fandom.

This is her team, by the by:

Calicifer the Skeledirge, Eclair the Clodsire, Oswald the Azumarill, Foxglove the Breloom, Phosphora the Kilowattrel, and Quixote the Farigiraf.

As for her appearance, I imagine she has the hair color, skin tone, and hair style she's depicted as having in official art, though the haircut's a bit fuller and shaggier in terms of the front bang and the back fringe things. Also, unlike her usual art, this version of Juliana has blue eyes. In terms of her outfit, I imagine her wearing the summer uniform shirt and tie, the spring uniform pants without suspenders, the winter uniform jacket worn unzipped with the sleeved rolled up to the elbows, pattern C engineer boots, black finger-less gloves, and a Gatsby Cap with Wabash stripes.

[proosh]

what was that about gil having dreams about the future? (no pressure!)

Oh anon my beloved thank you so much; I dropped that little tidbit into that post hoping someone would ask about it

The truth is that while it is a strongly held headcanon of mine, it’s something of half a historical in-joke, and half a metanarrative indulgence. I’ll cover both of these respectively, in case you want just the historical reasoning and not so much my deranged meta-analysis on nations, narrative, and metanarrative. With this in mind;

Prussia as Cassandra, A Meta

A brief historical overview

The Old Prussians practiced omen-reading and regarded seers with high regard, which was acknowledged as valid by the Teutonic Knights (when the omens predicted victory in battle, at least) and was practised by both men and women

White Ladies are supposedly ghosts of women who haunt the Hohenzollern family as omens of misfortune and especially as messengers of coming death. Notably, Queen Sophia Louise was once afflicted by a bout of madness in 1709 and dressed only in her white nightgown and having cut herself on some broken glass and screamed at King Frederick I (grandfather of Fritz) that "the plague would devour the king of Babylon". In part due to the White Lady folklore, he took this with serious regard and proceeded to prepare Berlin against the upcoming plague (which very much devastated wide swathes of both Prussia and the rest of Northern Europe)

Bismarck very probably never actually said the famous "damned foolish thing in the Balkans" quote that people like to trot out about the inevitability of World War 1 so I hesitate to include it here as historical fact, but for the purposes of elaborating on the "historical in-joke" half of this meta I will gesture to it as a vague suggestion of an ironic future-vision that, as I will discuss shortly, I think makes a certain degree of narrative sense.

Now, moving on to the narrative background and arguably the meat of this meta:

Narrative analysis

Entire books could and have been written about the depiction of history, and the fictionalisation of history for the purposes of narrative storytelling, especially in regards to the personification of abstract concepts like nation-states and their associated concepts. Unfortunately I cannot afford to go to university so you are getting this post instead.

For the purposes of this discussion strict literal academic historicity is not our goal, but rather HWS Prussia as a narrative construct within the sandbox of Hetalia as a story that involves and adapts history but is not necessarily directly representative of it.

Within this frame of analysis, Prussia as a character is a distinctly weird choice for Himaruya to make: To establish him as an ongoing, extant entity in the modern day is definitely A Narrative Choice to make, and honestly not really one I could personally imagine making. Perhaps it's a lingering result of questionable initial research, perhaps there's some meat to chew on in regards to this.

Prussia's design is one that stands out, compared to the rest of the mostly-naturalistic cast. We have the initial design concept for him depicting him as an older, rugged man, and we also have his very early canon design that depicts him with blond hair and blue eyes. However, the decision was made at some point relatively early on to change his design to be distinctly and notably Not Natural: Some debate has been made about to what degree is he actually albino, but the design is still notable for being distinctly 'set apart' from the other nations.

From there, we have to start asking questions about why this decision was made. My personal first thought was perhaps it was inherently tied to his creation as an "unnatural" state in the form of the Teutonic Knights. Voltaire's popular quote about Prussia not being a nation with an army, but rather an army with a nation might come to mind. However, we have been provided with the designs of the other Orders and they don't share his design traits in favour of their own design language, meaning that line of question falls short.

From there, I think it's not unreasonable to suggest that Prussia was designed - in his final, canon form - with his dissolution in mind. It sets him apart visibly from the rest of the established nations, and fundamentally Others him from the rest of the cast - a similar design concept used with Russia, who is within the canon framework of Hetalia, heavily associated with the sinister supernatural as signaled by his unnaturally coloured eyes.

Therefore, on a narrative level, Prussia's appearance foreshadows his own death, and his death was inevitable from the very beginning.

(Turns out the Calvinists were right, huh?)

With all that in mind, I don't find it unreasonable to take that dramatic narrative irony and apply that inherent 'friction' to the rest of Prussia's story: His narrative is haunted by his own death.

By virtue of his creation and his design (and within the framework of the text, his existence) he is doomed to die, and that singular event ripples back through his narrative almost like a psychic shockwave. Everything he Is points towards The End.

When that End comes, it 'releases' a good deal of that narrative tension. Himaruya has said that he designed Prussia to be something of a villainous character and the dissolution provides the suitable narrative endpoint in that regard. However.

The narrative framework of Hetalia continues, as the history it adapts tends to do, which begins to create a new form of narrative tension due to The Decision to have Prussia continue existing into the 'modern' setting. Himaruya has been incredibly cagey about this and besides the ongoing mystery of The HRE Situation the topic of Prussia's ongoing existence is something he's been noticeably coy about in his discussions and implications of East Germany and the following Reunification, but that's an entirely separate essay from what this one is about.

Fundamentally, I think that Prussia - as a narrative construct - is inherently and on a foundational level tied to his own eventual nonexistence, and the dramatic tension of What Comes After. I think he knows, on some primal, unfathomable level, and rages against it right up until it comes for him and he has to learn how to pick up the pieces of himself, his legacy, and his own narrative.

With that intrinsic narrative irony in mind, I don’t think it is too out there to suggest that he possibly (unintentionally, unconsciously) channels the future-sight that keeps cropping up in Prussian history, as noted above. At least in some form, I think he resonates with the coming End in a way that he cannot fully comprehend or articulate and like the Cassandra of myth there is nothing he can do to warn about or avert the doom that he sees and senses.

Troy could not be saved, and neither can he.

But that's just a theory. A game theor—

If you’ve made it this far, thank you so much for reading! This really got away from me and I really do hope that it's at least somewhat comprehensible.

[purple-petrichor]

Gero and Scars

MarriageToxin Theory Time: Gero is horribly scarred. Specifically, on his torso.

Let's explore this:

>>Already has a facial scar

Gero is a bit unique among romcom protagonists for having a visible facial scar. And that one looks CHEMICAL. We know that Gero's upbringing was rough--was it due to his harsh poison training? If so, there's no way that treatment didn't leave other lasting marks elsewhere on his body.

>>Clothing as cover

Through the series so far, Gero tends to hide his body. He's shy to begin with, leaping away from nudity (with Kinosaki in chp 1, and with Ushio chp 91). But this also applies to himself as well. Gero is largely conservative about his own clothing.

He wears big, baggy clothes. Never goes anywhere without his coat either (although the character profile notes this is due to his job--lots of poison compounds hiding under there). It's relevant to note that we haven't seen him shirtless yet, despite other male characters (Sound User, Ushio's gym-obsessed uncle) stripping down.

Furthermore, when on the Ocean date with Himekawa, Gero wears a FULL WETSUIT. He really covers as much of his body as possible.

>>Hesitance around physical intimacy

Although this is a smaller point, it could perhaps be relevant. We know that Gero is very anxious about touch. Over the course of lots of character development he's become much more comfortable (such as being on Arashiyama's lap) with it, but in early chapters he used to physically flinch away and duck out of reach (Kinosaki, Ureshino). This could hint at a deeper discomfort with touch and physical intimacy--maybe he's subconsciously afraid of what people might 'discover' if they get too close.

>>All for the family

We have heard Gero speak about his childhood upbringing, and it was not a happy one.

The Poison Clan has no problem abusing their children if it means competent heirs. We see 'sensei' hitting him to the point of internal injury. And we also see him as an older boy, trembling as he works with chemicals.

Furthermore, when it comes to facial scars, his cousin Teruaki has one as well, at one eyebrow. It runs in the family, being a trauma that leaves marks both seen and unseen. Come to think of it, it's a bit strange that his sister Akari doesn't have one? If she does, where is it? I swear to god if that was because of some twisted sexist reason like 'don't ruin the girl's face so we can marry her off' ughhh Either way, in the Gero clan, there's no way you get out unscathed. Literally.

>>Survivor of a death game

This has not been fully elaborated on in-canon, but the implications have been fairly strong. The Poison Clan appears to select (or perfect) their heir by having children go through a set of trials. The survivor (?) becomes the official heir. Gero himself refers to this as essentially a death game.

It would be impossible to get out of this kind of Hunger Games without receiving some nasty injuries. Especially given the kinds of chemical substances that these potential heirs may have played with. Not to mention, the scene with him in kimono is the first appearance of that incredibly suspicious scar around Gero's eye, which I suspect may have a dramatic reveal later on. Really, I wouldn't be surprised if his body is littered with scars and/or other chemical burn marks.

What if Gero takes his shirt off and we just see a battlefield.

EDIT: slightly jossed by this counterpoint:

>>Arms

We do see a bit more skin than usual in his cat cafe date! Arashiyama really has a way of loosening him up. Here, the front of Gero's arms are visible, all the way to the mid-biceps. And....there's no scars. No suspicious chemical burns or missing fingertips. Hmm. Maybe he's a miracle heir and managed to avoid all damage except his eye? Or there are scars, just hidden around where the T-shirt covers instead?

[reel-fear]

Henry And Norman's Canonical [and unexplored] Friendship and why it needs more focus in canon and fanon

An essay by me~

So I've talked a lot either in tags or in other posts about Henry and Norman's implied friendship in the canon of Bendy, however implied isn't really the right word, unexplored is more accurate because despite the fact we've never seen them interact, Henry and Norman having been friends is entirely canon with a lot of proof for it!

Don't believe me? Well let me show you why I am obsessed with this duo~

So first we're starting with the games since they are the ones most barren for this implication. We only really have one line in BATIM to go off of in terms of this, but they are interesting and important ones. Specifically we have one line from alice and an achievement to look at. [EDIT: I forgot a note written by Henry! I have added it now below]

Just from Alice's line we know she was under the impression Henry and Norman were friends, which not only shows they were in fact friends but close enough that others knew they were friends. Combined with the theory that Alice created the projectionist [one that is slightly backed up by BATDR confirming she was the one who mutilated the butcher gang] her teasing tone here could be rubbing in the fact such a horrible fate fell on someone Henry was close to...

It's an idea I think fits really well with Joey having created the cycle specifically to torment Henry too, why not make his friend one of the most mindless and horrible monsters down there just to make him feel worse. So close yet so far from one of the friendliest friends he knew.

The other thing I want to draw attention to is the Norman's Fate achievement, this is the Only time the projectionist is referred to as Norman and it comes from Henry's POV. It's a bit of stretch but I think it could be Henry refusing to dehumanize Norman by calling him the projectionist instead calling him by his name. A detail I think is very cute and could show Henry's sympathy towards his friend's suffering... and fate.

EDIT:

However we have another great indicator on how Henry feels towards the projectionist in particular and that's this note left by him on level 14.

Level 14 is the Projectionist's level, one full of the corpses of his victims and where he hunts Henry relentlessly, but Henry still questions The Projectionist being nothing more than an enemy. Their friendship seems to have meant a lot to him, and it seems to be on his mind, even after seeing what Norman has been twisted into. This could also be because the Projectionist literally fights the ink demon too. Who is far more antagonistic to Henry. Either way, I find it very sad but also a nice way of subtly touching on what Henry and Norman's friendship means for how Henry thinks of the Projectionist.

This is also a bit of a stretch but when Norman/The Projectionist peeks into the miracle station Henry is hiding in, in chapter 4, he doesn't seem super threatening, just curious and it even somewhat emulates Sammy's motions when commenting on Henry's familar face. Was there a moment of clarity for Norman there? Seeing his old friend hiding in there? Maybe, it's a little too vague to really dwelve on here but it is something to think about...

But time for us to get into the meat of their relationship, with the books, the media that elaborates far more on Henry and Norman's characters and has the lines from Norman confirming their friendship.

I absolutely LOVE these passages they show off so much more about Norman's character and expand on the idea he and Henry were friends in such a nice way. Norman talks about Henry in a way so unusually positive for him Dot feels the need to point out how much of a compliment it is for him to say he's a decent fellow with a lot of talent. He also speaks with a lot of sympathy towards Henry's blight and the abuse Joey made him endure, doing this all with his feet on the table holding up a projector, a smile on his face and a mug in his hand. He speaks somewhat vaguely and with mystery not exactly with Sammy's theatrics but with his own ominious air.

He also recognizes Henry leaving wasn't personal and that Joey likely held a grudge over it, plus when Dot comments on how odd it is for Norman to speak of someone like this, he doesn't refute it, just agrees with a laugh.

These passages are one of the reasons I think the books are some of the best media to come out of the series and I hope soon others realize what untapped potentional the books hide.

But...

Sadly despite all these interesting implications there's not a lot of canon or fandom content showing Norman and Henry's relationship and even less that attempts to develop and explore it. But for me it's one of the most interesting relationship's we have in BATIM [a series that is rather lacking in implied friendships or relationships between its characters]

Hell Henry's wiki page even mentions their friendship but Norman's page does not, which is strange since he has the most to speak on their friendship in the books. At least it's strange to me

So why is this relationship so fascinating to me? Just because of the dynamic it presents to us and its potentional for fun interactions!

Norman is portrayed constantly as a strange mysterious and almost intimidating figure, he sees everything, he goes to investigate strange noises under his booth with nothing but a light to find out whats making a horrid noise at night, and when Buddy [a 17 year old delivery boy] shows up at the studio and asks where Joey is Norman tells him he's DEAD. Which Buddy can only pick up on as a joke when someone else comes in to tell him Norman's sense of humor is strange, all while Norman bursts into chuckles. He's also pretty easy going esp in comparision to Sammy's dramatic nature.

Henry however is such an every man, a soft spoken and hard working animator who just wanted to have a better relationship with his work and wife. He's always so calm and just a usual guy. How did he come to form a friendship with such a strange and bizzare guy? Did he enjoy Norman's strange sense of humor? What were their interactions like?

There's so many interesting things to do with such a dynamic and that's not even getting into the tragedy of the Projectionist and Norman's fate. I want to see Henry heartbroken by his close friend's fate and death, I want to see more stuff exploring interactions between the Projectionist and the artist.

Whether it's canon or fanon that does it, I want to see more content on Henry and Norman's relationship. Romantic or not, I just want to see more people talk about it! Because it's one of the most interesting relationships in a series that tends to lack a lot of character relationship drama, pushing for more content of these two might be the bridge towards getting more content from canon that generally shows us how these characters all feel about each other.

Something I don't think is an impossible idea too since Meatly straight up asked us what characters we wanted to see interact, showing interest in these two could be a big W for us I'm just sayin [yes that is me down there]

I know I am very biased as a big Norman and Normry/Moving Pictures/Heman fan but I hope this post could show just a few more people the potential of this duo and we get more content of them in the future. Esp since fans have done a lot more with pairings in this franchise with far less content or implications of friendship.

Fingers crossed for a Norman novel where we can see them interact!!

And more content of these two in general <3