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bitegore · 21 days ago

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

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

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

Credits:

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

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

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

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

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

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

Suggested / intended use & general notes:

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

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

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

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

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

Definitions:

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

General categories:

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

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

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

Outset: the start of the character's arc.

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

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

Mindset terms:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Circumstances terms:

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

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

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

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

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

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

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

Growth terms:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#thank GOD we can just turn notifications off now so i wont have to delete this post #red rambles #also. if you want to follow me for this because someone reblogged it. Don't i make like one of these every [checks notes] 2 years #typically i just reblog a lot of nonsense and you will not enjoy it probably #im writing this like i expect it to take off because i do . Because i'm scared #character sheet #red makes memes #<- because those are the tags i used on the last ones #i dont really think this quite qualifies #oc reference #what fucking tags are there for this sort of thing lmao #ttrpg sheet #ttrpg tools #i know people want this for ttrpgs. if everyone used the other thing for ttrpgs.#oc tools #i was gonna make a fillable version but i gave up. someone made a cool one of the ancient blorbo sheet but tbh i have no idea what the fuck #they're doing with js modules (<- everyone point and laugh i dont know javascript LMAO) and i dont feel like figuring it out #hey guys its midnight im out of post jail. image upon ye #ALSO you CAN put your sheet on the post i dont like. Care #like i said a zillion times. I will be turning notifications off if too many people say things #but until i get really sick of everyone filling things out the same way im curious #you understand.

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trensu · 2 years ago

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Steve had always wanted to be a skilled fighter. The schools that churned out the best fighters all happened to be schools for holy warriors. It was possible that Steve maybe sort of lied a little (with the help of his friends Robin and Dustin) to get into this school by claiming he was full to the brim of religious fervor but hadn’t decided who to pledge his sword to yet. It shouldn’t have worked, if he were honest with himself, but by some stroke of luck it did, and he finished his training as one of the top combatants.

The issue now was that he had to pick a god whose crest to carry. There were all sorts of gods. Gods of water, gods of air, gods of agriculture, war gods, cat gods, plant gods...the list was endless. And while Steve was one of the best fighters around, he was most definitely not one of the best researchers. Thankfully Dustin and Robin were very clever and knew where to find details about the many gods in existence.

“So what kind of god do you want to follow? Maybe we can start there,” Robin asked.

“Uh…a good one?”

“You’re no help at all, you know that?” Dustin grumbled.

They suggested a local god known as Carver who stood for righteousness, but Steve turned that down. It didn't feel like a good fit. They suggested a love god by the name of Chrissy, who valued love of all kinds, romantic, platonic, familial...Steve had been tempted, very tempted, because Steve had always carried an excess of love in his heart. Robin had vetoed that one stating that Steve was already too reckless with his love and she wouldn't stand by and watch him break his own heart over and over again.

Dustin suggested a god of knowledge, Clarke, who blessed and guided those with curiosity, imagination, and a knack for invention. Steve shot that one down immediately. He was never one to be overly imaginative or curious; he preferred to deal with concrete things. Out of their quickly dwindling list, Robin reluctantly suggested Hargrove, a war god favored by a nearby kingdom, but if Carver was ill-fitting, then Hargrove was outright repellent to Steve.

"C'mon, Steve, you gotta pick someone!" Dustin huffed in frustration.

Robin thunked her head against the table in the library where they were looking up deities. She was obviously at her wit's end too. Steve, however, just dug his heels in with a particularly stubborn scowl.

"I can't just pick anyone!" Steve said. "If I'm going to pledge my sword to someone, it has to be someone...someone good. Someone that, I don't know, someone I can believe in, even when--no especially when things go wrong. That’s the whole point!"

"Yeah, I get that," Robin sighed, a mix of fond and annoyed, "but this is the eighth book we've gone through and the only one left here is called the King of Darkness which is hardly going to--huh."

Robin paused mid-rant to look at the page more closely. Steve and Dustin both huddled around her to peek into the book as well. Dustin also made a sound of curiosity.

"That's weird," Dustin said.

"Right?" Robin asked enthusiastically.

"What? What's weird?" Steve didn't get what caught their attention.

"This god only has a couple of sentences," Dustin explained, "And they don't really make sense. Something about dark creatures and the undeserving? The grammar and structure is all weird though."

"It looks like a half-assed translation," Robin added with a nod. "We should find the original text."

"Yeah! And if we can make a better translation, we could get it added to the next edition and they'd have to put our names on the book," Dustin said excitedly. Robin's eyes lit up at the thought and they both rushed off to the stacks to track down any original sources.

"Guys! Guys, what about my..."

The librarian hushed Steve, irritated. Steve groaned in defeat.

"...godly choices. Yeah, fine," Steve slumped back on his seat. "I need to find non-nerd friends."

Two days later, Robin and Dustin finished translating a slim, dusty book. They were nearly vibrating in their seats as Steve reviewed their notes on what they found. Dustin gripped his arm and gave him a shake.

"So? What do you think?" he asked excitedly.

Robin slung her arm across Steve's shoulders. With more tenderness than Steve expected, she said, "I know it doesn't seem like it, he doesn't really fit with your whole style, but it could work."

"Yeah," Steve said with a hopeful smile. "Yeah, this feels right."

It took longer than Steve would've liked, but eventually he managed to track down a small, crumbling shrine. It was an alcove carved near the entrance--no more than a crack in the stone really--of a cave at the edge of a lush forest. He almost missed it, it was so drowned in overgrown crawling vines and weeds. It bore a modest statue, no bigger than Steve, standing atop an equally modest plinth. There was a spot that obviously held a plaque once, but it must’ve been dug out by thieves at some point.

The sight of it made something in Steve's chest twinge; a strange pang of melancholy at seeing a god so forgotten and abandoned. It surprised him as he had never been particularly religious, but there was just something about this one that drew him in.

It was the middle of the day, so Steve quickly made camp and took advantage of the light to begin clearing the shrine. He started where the plaque had been, scrubbing off the dirt and moss that had filled the indentation. He knew a good smith; he could commission a new plaque to be made. After that, he weeded the immediate area around the plinth where worshipers would typically lay their offerings and pray.

By the time he finished that, it was late afternoon and he decided that was good enough for today. He had to eat and get a few hours of sleep so he could be alert once night fell. When he curled up on his bedroll, he couldn't help the grin that spread on his face. He was going to offer himself to his god tonight, and with any luck, his god would accept him.

He woke to a multitude of high pitched squeaks and the sound of many, many flapping wings. The sun had just fully set, and the stars that could be seen through the canopy burned brightly. Steve took his time to fasten on his armor and scabbard properly, and fixed his hair so not a strand was out of place. He took a few deep breaths to calm an unexpected bout of nerves before going to the shrine and kneeling.

His god had no official prayers. Or rather, the prayers for his god were forgotten. Robin and Dustin did their best to find anything prayer-like but it had been in vain. They suspected that most of the god's holy items and lore were purposely lost. Lacking that, Steve decided it was best that he introduce himself.

"Um, hi," he started and immediately winced. "Sorry. I'm not used to...this. I couldn't find any of your…holy words? Prayers? The right ways to speak to you, I guess.

"I'm Steve. Steve Harrington. I'm a fighter. I finished my training a few weeks back. I was the top of my cohort when it came to combat. I'm good with my sword and I know how to take a hit. I can turn just about anything into a weapon if it's needed."

Here Steve paused for a moment, straining to hear but there was nothing other than the typical sounds of a night out in the woods. Steve took a breath and plowed forward.

"I want to be more than a fighter, though. I don't want to just wave a sword around for nothing. I want it to...to matter. So I spent a lot of time trying to decide who to wield my sword for. It took me a while, but I found you. I want to be your shield and sword, if you'll have me."

Steve stopped again to listen. Nothing. Robin warned him this might happen. Gods didn't always accept warriors who offered themselves to them, and forgotten gods weren't always reachable. It was fine, though; he’d try again tomorrow night. Steve turned in just before dawn, eager for night again.

Steve worked on clearing the vines tangled around the statue's legs and feet. He yanked out the thick, scraggly vines, and carefully picked apart the prickling thorny ones. There was a particular gnarl of vines that didn't seem like they had a stranglehold on his god's statue. They were healthy and strong, and the way they curled and grew looked more like a caress than an invasion. He decided to leave those on, though he gently rearranged them while removing the more invasive vines so they looked more decorative.

When night arrived with the sound of squeaks and wings, Steve went to kneel at the shrine. He introduced himself again, gave the same spiel as the night before. Still he heard nothing. He scratched the back of his neck in mild insecurity.

“I guess I should tell you I didn’t find you on my own. My friends Robin and Dustin helped me. They’re way smarter than me, you know? Total nerds. I can swing a sword like nothing, but books and research? Yeah, that never works out for me, so they helped me look up all sorts of gods.

“There’s a lot of them. Way more than I thought. Dustin and Robin both recommended me ones or vetoed others. They were getting frustrated with me because I kept rejecting the ones they gave me.

“Then Robin found you. Kind of by accident, to be honest. But she did her research thing and I knew that I wanted to carry your symbol. It took me forever to find this shrine. Robin said this was probably the only shrine you had left, so I had to find it.

“Dustin kept saying it was on the other side of the forest, but obviously he was wrong. Not that he’ll ever admit it, the little shit, but whatever. I’m sorry your shrine was abandoned like this, but I promise I’ll fix it up. I’m good with my hands, I can do it.”

There was no response to his admittedly disorganized ramble. It was fine, he told himself. He needed to be patient. He’d come back the next night.

–

Around the statue’s waist there was another tangled mess of vines, except these vines had died and rotted to dark sludge. There was fungus growing on it, and it reeked. It was gross. Steve scrubbed at it for hours because the rot had stained the stone. He was able to get rid of the rot and most of the stains before going to catch a few hours of sleep in the afternoon.

Night fell and Steve was kneeling for the third time. He repeated most of what he said the previous two nights. There was still no response. He thought maybe he was pushing too hard. He’d never been the super talkative type anyway. He could share the quiet night with his god, if that was what his god wanted.

A few hours passed when he was startled out of his near meditative state by the sound of snapping twigs. He leapt to his feet, hand on his scabbard. Someone–a man by the look of it–stumbled out of the woods. He was pale and dark haired, dressed in ragged clothes that were probably awful even when they were new. He looked like a vagabond.

Steve stepped in front of the shrine, protectively. The stranger grinned at him and Steve could already tell he was not going to enjoy the conversation that was about to happen.

“Who are you and what are you doing here?” Steve asked firmly, cutting the man off before he could speak. The smile only grew wider.

“I could ask you the same thing, sir,” the man said, adopting the annoyed huff of a wealthy lord. Steve scowled.

“I asked first.”

“I asked second!”

“You didn’t ask me anything,” Steve responded, somewhat smug. The man paused and then snorted a laugh.

“Yeah, okay.” He raised his hands in mock surrender. “You got me.”

“So?”

“So what?”

“What are you doing here? Who are you?” Steve repeated shortly. The teasing grin was back, and Steve felt his scowl deepen.

“Nothing and no one, m’lord,” the man bows mockingly.

“I’m not a lord.”

“Huh. Could’ve fooled me. You’re certainly as demanding as any lord I’ve ever met.”

“Oh fuck you,” Steve snapped. “I’m a holy warrior.”

The man laughed at him outright.

“Well that doesn’t sound very holy warrior-ish. Are your type allowed to swear?”

Steve grinded his teeth and decided it was not worth it to continue this conversation for much longer.

“Look, if you’re here to steal, I’ve got nothing on me.”

“That’s exactly what someone with something to steal would say.”

“Well, I don’t! I’m on a pilgrimage and I don’t want to spill blood on holy ground. So.” Steve wrapped a hand around the hilt of his sword. “Leave. Please.”

“Holy ground? Here?” the man barks out a laugh. “Don’t you know what this place is?”

“Yes,” Steve says shortly, placing himself more firmly between the shrine and the man. “Please leave. There shouldn’t be violence done here.”

“Oh, it’s far too late for that. This place used to belong to the King of Darkness. It’s said he was so evil that nothing grew here until he was run out and defeated by the god of righteousness. You know the one. Really plays up the holier than thou thing by making his hair all gold and glowy? Gotta say, you could give him a run for his money though.”

“You’re wrong.”

“No really! Your hair is great. Way better than Carver, even with the glowy thing.”

“Not that!” Steve said in frustration. This guy really liked the sound of his own voice and Steve was starting to get a headache. It was near dawn and all he wanted was to spend the last hour or so in the quiet night with his god.

“So you agree your hair is better than a god’s?” The man tsks at him. “That’s pretty blasphemous. Are you sure you’re a holy warrior?”

“No! I mean, yes. Wait,” Steve growls at his own bumbling. “No, I’m not better than any god. But I am a holy warrior. Kind of.”

“Kind of.”

“Look, I’m working on it so I need you to leave. You’ve insulted him enough already.”

“Your god is the King of Dark–”

“Call him that again, and I will draw my sword,” Steve said, voice steely. “He’s the Lord of Night, and I won’t let you insult him at his own shrine.”

The man goes quiet for the first time since he showed up. He looked almost surprised, his mocking grin gone. His eyes flicked over to the dilapidated statue and then back at Steve.

“Lord of Night doesn’t sound much different than what I called him,” the man said lightly.

“Well, it is,” Steve told him. “Now, will you please leave?”

The man stared at him for a moment before shrugging. “Yeah, alright.” And then he left as suddenly as he had arrived.

The tension that had built up in Steve’s shoulders drained away. He went back to kneel in front of the shrine again when he noticed the barest hint of sunrise on the horizon. He cursed under his breath then was hit with a wave of embarrassment at cursing in front of the shrine and the whole situation that had transpired.

“I’m sorry about that,” Steve said, abashed. “It won’t happen again, I promise.”

–

It happened again.

now with an additional snippet here and here

ps: i do not do those reader tag list things. if you'd like to keep up with my stuff, follow my writing tag: trensu tells stories

#trensu tells stories #stranger things #steddie #steve harrington #robin buckley #dustin henderson #eddie munson #i don't even know what to call this #it's an idea i'm playing with but i don't know how well it works #if you're curious about the setting so am i!#if you figure it out do me a favor and tell me what it is #i have more written but it's not done #i'm hoping to post it as a oneshot on ao3 when i finish it #IF i finish it #we'll see i guess #ETA #came up with a title/tag for this #stasis in darkness

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