#godmodding with permission

[hesterlomidze]

Where: Retrocity Arcade Who: @retrospectral

Most of the time she found herself surrounded by white walls, sterile rooms and modern technology she got quite the hang of in the hospital. Technology outside the hospital though? She was still getting the hang of how exactly a smartphone worked. So when she unlocked the thing after her shift and read a couple incomprehensive messages, or texts as they were called, she couldn't help but giggle to herself.

Ez Babybrother: los Ez Babybrother: lo s t thi Ez Babybrother: thinggfg Ez Babybrother: ff fffffffff😭 Ez Babybrother: ret/, retro carscdae Ez Babybrother: ciyt rretro in townnn;🥹🫠

Thankfully she wasn't the only one struggling with this whole texting thing, she thought to herself as she said her goodbyes to colleagues she met along the way out. So Ezra had lost something, someplace, somewhere. It didn't take long for her to figure out he must mean the arcade he had mentioned a few times at home. It excited him, still Hester hadn't had time to check the place out. Checking the time, she still had a few hours left before sunrise. She could make a run for it and see if it was still open at this unholy hour.

Upon finding the place, it was way brighter and noisy than she expected it to be - not that she had any idea of what to expect. Hester wasn't familiar with arcades, with videogames and all that jazz. The sounds were not that different from the beeps and boops she heard at the hospital almost every night. As her feet moved past the entrance, she found herself in a whole different kind of world. Is this how a kid would feel? Like stepping inside a candy store. For a moment she forgot her entire reason as to why she had gotten here, entirely entranced by all the arcade machines around her.

[lunaoritur]

actually fugg it im bored

BRAINWASHED LUNA starter call for the funsies -- most interactions will likely be fight scenes* or luna stalking ur muse like mic/hael m/yers lmao

[medusacomplex]

Recollection pulls itself from an old corner of her mind to the days her mother used to comfort her at the strange sounds heard rampant through the night; it's the house settling, dear, it's not a monster. It's nothing to be afraid of. She'd taken it to heart, and refused to give creaks and groans any mind since then, opting instead to play ignorance as her weapon, to shun the sounds and resist the urges that begged her gaze be brought 'round her shoulder, to spot the shadow creeping at the end of the hall. She has been less successful at this strategy in the last few days, finding the smell of rot and musk and fresh dirt so pervasive that she couldn't help but allow her curiosity to get the better of her. Stupid mistakes, the kind dumb girls in horror movies make, inching towards the closet in response to the sound of dripping water, imagining the hot steam of breath on the nape of her neck and not just brushing it off, instead seeking out the source. This is not how you survive a scary movie.

Long had she been plagued by what she supposed could be best described as some sort of telltale heart syndrome; guilt gripped her, paranoia too, and they made for a deadly mix. A dead friend's arms reaching desperate from the floorboards as she attempted to sleep, a memory of the blue air of the other world she'd been caught up in, a feeling of smoke filling her lungs and a burning, a sharp pain on her palm ... all of these sensations were normal and rather natural to her by now. She had developed a numbness to the torturous memories, a thick skin to the nightmares. But as of late ... the feel of everything was different. Not entirely tangible but not as clearly self-manifested as before. She wondered, at times, perhaps these were elaborate tricks. Perhaps she was being watched, again, toyed with like some sort of prey. That brought about a sensation of anger and terror that overwhelmed her so sincerely that she had little voice to articulate it.

Perhaps the exhaustion makes her less nervous about the other's words, or perhaps she only hides her skepticism and distrust as some kind of strategic methodology; whatever it is, she takes in the words with a somewhat stoic expression, as the stranger speaks:

@antigodeus, asked: ❝ i need you to come with me. ❞

" You ... who are .... "

She begins to look behind herself, stopping as her chin reaches just before her shoulder and she can see in her peripherals an empty hallway. But she knows, she can feel it, something is there. She returns her gaze to the stranger, eyes narrowing, mouth agape. She's not sure who to trust, but the thing at her heels feels far more harrowing a choice than that which stands before her. A strained action, but she nods, takes a step towards them and forces herself not to look back down the hallway.

" What's going on? Who - are you? "

[prodigiousvisions]

❝ i said, is my red, red enough? i'm waiting for your teeth at my throat. it's only good manners. ❞ childe @ keqing -relightsmartyr

this is technically unprompted but we're also attacking each other with random quotes. always accepting. | @relightsmartyr

WHAT BENEFIT DOES GOOD INTENTION HOLD WHEN THE BEARER OF BAD NEWS LEAVES A MONUMENTAL, PROPHETIC WARNING FOR HER TO DECIPHER WITHOUT LEAVING A KEY TO PROPERLY DECODE ITS MEANING? Keqing has had her fair share of Fatui dealings to last her a lifetime. To where each harbinger stepped foot was followed briskly by ruinous damnation. Childe himself was practically the embodiment of a walking red flag - billowing red scarf hung off of shoulders akin to the hallmark wave of the Snezhnaya's higher order. Red earring - red mask, it all be the same in her eyes. A flagrant indication of the disruption to the peace; her peace as they are, much to her distaste, forced to inhabit the same space even after his mission to drown Liyue has failed. She tires of his menial wandering as the Fatui's errand boy in such an upset - tired of the way he greets her as if she didn't previously try to cause him serious bodily harm in compensation for not being able to slit his throat. But there comes a day when he brings about her attention a more cryptic warning without elaboration on the growing presence of Fatui members upon Liyue shores, one without prior diplomatic warning, as if it was a run-of-the-mill utterance of the day's newspaper article. Very quickly is Keqing ready to make amends with her prior lapse of judgment and draw her survival hairpin, sharp as a knife despite the wear, to the skin of his neck in an immediate dial switch of impatience at his words.

"Stop playing games with me, Childe," The Yuheng's voice raises several octaves as the hair accessory presses harder against his skin, a fire set ablaze under the furrow and wrinkles of her brows. Magenta is wide with a kindled, explosive sense of urgency. Surely he had more information to tell than what he chose to share with her, but much like one of the noted past-times she'd wished she had forgotten of his, he was more than adept in setting a proper bait in front of her to await her timely bite. Once everything was in order - once the scene and proper conditions were set, should the fisherman claim his prize.

'Is my red, red enough? I'm waiting for your teeth at my throat. It's only good manners.'

Keqing despised him.

Blood drips in trepidation onto the surface of her hairpin. She observes the cool flow of the liquid fall from metal onto the fabric of her gloves. Keqing groans, then, realizing the temporary permeation that Childe continued to have over her. It's only at that moment that she decides to draw her makeshift weapon back, wiping off the excess crimson onto the edge of her dress and placing it back upon her head.

"If I have to force a better explanation out of you, so be it. Even if it takes my teeth at your throat, I'm not beneath anything to maintain the peace of this nation. Am I making myself clear? So go on, tell me what you're dangling in front of my face for whatever reason before I rip it out of you."

[bittcrsuite]

she had no doubt she talked in her sleep — especially because she knew she kicked marcus. he had the bruises to prove it, which he loved to remind her of. one of the many reasons she loved spending time with marcus was because their already endless history kept growing. whether it was in her sleep or over a bottle of champagne (or two), they never ran out of things to babble on about. in a drunken attempt to brush away the wind blown strands from her face, chandler clumsily runs her fingers through dark waves. no matter how composed she tried to act, she couldn't push the thought away: she could spend the rest of her life doing exactly this with marcus. it didn't necessarily have to be in new zealand — they could share takeout and seltzers on her terrace in the city and she'd be just as happy. as long as she was with him. 

“oh, man — we're back to this? can we not let it go? must my subconscious sleep talking from a decade ago be the talk of our entire vacation?” a tad dramatic, but that was the chandler hargrove charm. wasn't nearly as dramatic in her adult years — unless she was nervous. which she was. “wait — before you scar me for life…” she trailed off, taking a few beats as she stood from the bed, clumsily stacking their food containers on the platter it arrived on. she snagged the unopened bottle before she pushed the messy bar cart closer to the balcony. delicate digits opened the champagne with ease, refilling both their glasses and taking a sip before she plopped back down. her head fell into his lap, eyes catching his as she looked up at him. “i don't think it counts if you manipulated me in my sleep.” she broke the silence before she could spend any time thinking about their skin touching. yet again. “enough with the drama. that's my thing — just tell me.”

             marcus  can  hear  hospitality  laughing  on  the  other  end  of  the  phone,  and  he  watches,  just  as  he  always  has,  as  chandler  turns  the  world  over  in  her  hand.  it  seemed  as  if  she  ordered  everything  easily  palatable  off  the  menu  and  included  no  unique  new  zealand  delicacies,  while  her  legs  swung  in  the  air  and  she  cooed  into  the  receiver.  his  gaze  of  admiration  toes  toward  veneration  when  she  stands,  placing  her  palm  to  his  chest.  chandler's  mouth  moves,  but  marcus  hardly  registers  any  words,  too  busy  allotting  himself  a  few  more  moments  to  embrace  a  pathetic  yearning  that  he'd  have  no  choice  but  to  swallow  down.

[…]            they  push  around  the  last  remnants  of  food  on  their  plates,  laughing  over  nothing.  the  champagne  had  unknotted  marcus'  nerves,  enough  of  a  hit  between  the  two  that  they  had  impulsively  ordered  a  second  bottle,  although  it  remained  uncorked.  there  was  a  hum  beneath  his  skin  that  had  nothing  to  do  with  his  blood  alcohol  content,  and  if  marcus  thought  about  it  hard  enough,  it  had  always  been  there.  well,  at  least  as  long  as  she  had been  there.  it  was  low  and  constant,  attuned  to  whatever  frequency�� chandler  traveled  along.  ignoring  it  had  become  a  refined  practice,  but  it  felt  louder  tonight.  once  he  opens  his  mouth,  though,  his  buzz  speaks:  “  you  don't  believe  me,  do  you?  ”  he  leans  back,  watching  the  tasman  sea  winds  blow  her  hair  around.  one  of  them  had  opened  the  balcony  doors  at  some  point  and  the  sound  of  chorus  cicadas  filled  the  space.  it's  hard  not  to  go  get  stuck  here,  on  the  sight  of  her  in  front  of  him this way,  but  you  can  only  sit  in  someone's  thrall  for  so  long.   “  that  you  used  to  sleep  talk,  ”  words  are  fragmented,  perhaps  drunker  than  he  realized.  “  about  me,  i  mean.  “  another  sip  of  his  drink  for  confidence,  "  because  you  did,  and  i  eventually  figured  out  the  right  questions  to  ask.  ”

[not-the-darknight]

Interaction call for Diluc Ragnvindr

Hello everyone! Diluc is ready for some interactions and shipping fun! Whether you're looking for some sillies or a well-plotted encounter, this is your chance to get involved. By liking this post, you're letting me, the mod, know that you're interested in interacting with Diluc.

Here are somethings you need to keep in mind before liking the post. If you do not follow these instructions, I may not interact with you.

Plotting: I am open to freestyling and letting the muses figure it out. But if you are someone who is interested in plotting something very specific that might affect my muses's lore, then please DM me and let me me know

Nature of Interactions: Specify the nature of your interaction in this post via comments or reblogs or message me directly

Platonic: Friendly or neutral interactions. Enemies: Conflict or rivalry. Ships: Romantic relationships.

Romantic Verses: Each romantic ship will be treated as a separate verse. While Diluc’s canon lore will stay the same, each ship’s storyline will be unique and not interconnected with other ships.

No Godmodding: Respect everyone’s characters and decisions. No controlling or dictating other characters’ actions without permission.

Respect & Communication: Keep interactions respectful and communicate openly. If you have any concerns or need to make changes, let’s talk it out!

[sir-renaissance]

A Guide to Written Roleplay for Beginners

As someone who’s been roleplaying for 15+ years I feel like it’s important to keep this part of the internet alive and welcome newcomers who want to try their hand at it! This post is mainly going to be centered around vernacular and etiquette. If you have any questions please feel free to send me an ask! And if you’re also an experienced role player, share what I miss or your stories from over the years.

Common Vernacular

Canon- The actual story events from the media you are playing in the space of

AU- Alternate Universe, can range from slight differences to canon or be an entirely different world/scenario

Headcanon- What you, as an individual, believe about a character or world you’re playing in. This is not canon, but in general derived from it or sometimes not at all

OC- Original Character

OOC / OoC- Out of Character, this has two meanings depending on context. The first is when you wish to speak with your partner outside of roleplaying or ‘above the table’ if you’re more familiar with DnD terms. The second is when you or your partner is writing a version of the character that is not their Canon selves— of course this only applies to already existing characters

Prompt- The post you or a potential partner make in order to get a roleplay started

Starter- The starting reply to kick off the roleplay

Para- Paragraphs, an older term primarily used on Omegle and sites similar in order to specify the kind of writing style you’d like to do for your roleplay. In this instance, Para means you want writing more akin to how one would write an actual story with prose and dialogue and proper grammar

[Insert number here]+- This means how many paragraphs you or your partner are expecting to be the standard for the roleplay. For some 2-3+ paragraphs work while some people want 4-6+. Sometimes even 8+

Text- Another older term from Omegle and forums to specify writing style. In this instance, Text means one of two things: writing your characters actually texting each other (and usually signing off with their initials at the end of the message ex: I love you, Dean. -C // Don’t do this, Cas. -DW) or writing actions and dialogue without proper grammar or prose (ex: *takes out gun and shoots you* Oh wait this isn’t a camera)

[Insert Genre]!AU- This one is still used in fandom spaces but much less now than before. This is the way people communicate to you succinctly what kind of AU they’re advertising. It can also be used as a way to describe in a single world what your or your partners chosen character’s main attribute is (ex: Pirate!AU, Medieval!AU, Ballerina!Sherlock x Football Player!John, In Love!Light Yagami x Pining!L)

Godmodding- A big no no. This is when you or your partner control a character without the other’s expressed permission. For instance, say you write your character going into a room and picking up an apple and taking a bite. Then your partner sends their reply saying your character starts choking and begs their character to save them. Unless it was explicitly stated before that it was alright for you both or one of you to control both characters, this is godmodding

Multimusing- Playing more than one character

Smutfishing- When you or a potential partner puts this in a prompt, it means to look for smut or NSFW primarily for the roleplay

PWP / PwP- Porn with Plot, this is self explanatory

Lit- Literate, specifying you or your partner want the roleplay to have proper grammar and prose

[Insert age number here]+- You or your partner advertising they prefer either the characters or the person writing themselves to be at or above a certain age (ex: Looking for 21+ partners! // Characters must be at least 18+ for smut)

Bumping- The act of sending a message OOC to check in on a partner who hasn’t replied in a while (ex: Hey just bumping this to check if you were still interested!)

Volleying- When you are both available to immediately reply and can write many replies in quick succession

Matching Length- When you or your partner specifies that they want you to match or get close to matching how many paragraphs they/you are writing

Asterisks and Slashes- Common ways to emphasize a word as though you were italicizing (ex: She looked *beautiful* // She looked /beautiful/)

Ref- Reference or Reference Image, usually you or your partner provides some kind of image of a character being played or setting

Timeskip- When you and your partner decide to skip over a period of time in the roleplay

Etiquette

(These are things I have picked up over the years, they may vary depending on who you interact with)

This is the most important rule to remember: always, ALWAYS, give your partner something to work with for when they write their reply. It is the absolute worst when your partner writes something that effectively shuts out or doesn’t push the scene you’re in forward. From Para to Text, Lit or not, give your partner SOMETHING they can bounce off of. This is improv, writing on the fly! It’s either yes and or no but. Never just one or the other.

Discuss expectations before beginning the roleplay. Some people like to just jump in and reply to a Prompt that already has a Starter attached, but it’s always good to talk OOC beforehand. Telling each other triggers/preferences is important, it doesn’t kill the mood. Whether it’s just setting a standard or literally plotting out the entire story, talk to each other.

Let your partner know when you need a break/hiatus. Another very important rule: Life comes first. It has to. For both you and your partner. You may be at the very climactic moment of your rp, the whole reason for the rp to be done in the first place— only for your partner to say they need to step away for a few days or weeks or (god fucking forbid) months for one reason or another. More often than not people will just silently let roleplays sputter out, try not to take it personally. You have no idea what your partners life is like or what they’re dealing with

NO GODMODDING like seriously just don’t unless you’re allowed. It’s the worst and was very rampant circa 2016

This is more of a rule I like to follow that isn’t shared across the board, but allow your replies to fluctuate in size. For instance, if you’re writing a scene with lots of dialogue, it’s best not to hunker it down with exposition to meet the required length you need to match. And in turn if you’re writing an action scene or a big moment or something very cerebral, write as much as you like! Be sure though to make this clear to your partner and have them agree. There are many people who want to have a certain amount of paragraphs set, usually the lowest is 2-3+

Try not to be too random. You’re writing a story on the fly, not performing in an improv show. Keep to the tone of what you and your partner are doing

Don’t yuck other peoples yums. If you’re not used to seeing extremely NSFW stuff, you are in for an awakening with roleplay. You will discover kinks and fetish you never even knew existed. You will encounter things you are extremely morally opposed to. Unless the site you’re using to rp explicitly states they are not allowed to do the thing they’re advertising in their prompt, it’s game on. Do not connect and lecture them about what they can and can’t do or harass them and make them feel bad

Let your partner know when you love something that they wrote! It’s an incredibly kind thing to do and motivates your partner to keep writing!

If you are underaged, DO NOT roleplay explicitly sexual scenes with an adult and vice versa. I remember what it was like to be a teen and wanting to roleplay with adults because they wrote so much better than other teens. I implore you to resist the temptation. It’s literally illegal! It can also happen on accident sometimes due to anonymity but there have been many times in the past where a parent will find their child’s roleplay, contact the authorities and have the adult arrested despite the adult not realizing that they were roleplaying with a child. Sites that can verify age or just using logic can help avoid this (Omegle, as you can imagine, was notorious for this)

Tell your partner if you don’t like the way a scene is going and you want to change things/retcon. There’s no shame in it and it can actually make the roleplay better for you both

Be flexible, keep an open mind, and have fun! You’re writing a story together, they’re your partner and you are theirs. Enjoy the thrill of seeing and reading your partners reply and coming up with ways as to how to respond

That’s about all I can think of for now! This is a passion of mine (15+ years worth of built up passion) and it’s important to me that new people can enjoy the hobby like I do and perhaps even improve their writing skills! The primary site I use to roleplay on is cherp.chat (the format is similar to AO3’s tagging system as well as blacklist and search engine) but you can post prompts anywhere it seems appropriate (Tumblr, RP Discord Servers, Reddit pages dedicated to roleplay, Instagram, etc).

Like I said if you have any questions or want to add anything, send me an ask! I’ll be sure to tag it as ‘roleplay’ and ‘rp’.

[loversfms]

“did  i  say  i  don't  believe  in  that  ?”  it's  possible  –  theodora  often  spoke  without  paying  attention  to  the  words  coming  out  of  her  mouth.  still,  it  doesn't  seem  like  something  she'd  say.  as  much  as  her  cousins  teased  her  for  her  eccentricities,  she  lived  by  them.  and,  she  liked  where  her  life  was  at.  so  how  could  she  believe  there  wasn't  any  merit  to  what  she'd  learned  ?  “i  guess  that's  true,  but  you  never  know  until  it's  too  late  !  what  if  i  invite  one  in  hoping  for  blessings  and  then  my  life  just  completely  falls  apart  and  now  every  baby  doll  i  see  on  the  street  just  stares  at  me  ??  you  can  never  be  too  careful.”  theodora  positions  her  hands  into  a  heart.  “you're  the  best  !  i'll  pull  the  blankets  from  the  back  so  we  can  get  super  comfy.”

“i  thought  you  didn't  believe  in  all  that,”  brow  raises  quizzically,  memories  of  summers  spent  with  her  aunt  and  uncle  fresh  in  her  mind.  they'd  always  been  eccentric,  and  she'd  always  fed  into  it.  except  for  this  one  thing,  because  an  artist  could  never  turn  down  an  idea.  “besides,  dead  people  aren't  always  bad,  sometimes  they  bring  blessings,”  an  easy  shrug,  looking  over  her  shoulder  as  she  begins  heading  for  the  snack  shack.  “i  got  you  on  the  gummy  bears,  though,  promise  to  make  sure  they're  not  haunted  before  i  bring  them  back.”

[murdermade]

Yoinking this idea from Jax.

Control Consent post!!

Please like this if I am allowed to have Orin do whatever she wants without fear of me thinking I'm godmodding with your character. Orin is a very violent and unpredictable muse and so I would like to have permission to hurt your muse and actually landing those injuries without having to ask.

I assume that by following Orin you are already aware of this but it doesn't hurt to post this to be sure so yeah, like this post if it's okay for Orin to do whatever the hell it is she feels like doing without me fearing someone getting upset with me for it. Liking this will help me a ton!

[sylus-hds-7213]

Hola,

I much appreciate you portrayal of Sylus. I have find your account from some reblogs. Sorry, English is not my first language. But I want to make roleplay blog. Any advice please?

ooc- -

Thank you so much for your kind message. It really means a lot! sdjhvfsdjhlf

I'm also not a native English speaker, so I completely understand where you're coming from.

My biggest advice is: just start and have fun with the character you want to roleplay on Tumblr! Whether it's a canon character or your own original character (OC), the most important thing is that you enjoy the process. If you feel nervous about playing a canon character at first, creating an OC can be a great way to get comfortable and gain experience.

That said, roleplaying also comes with a few community rules to keep things respectful and fun for everyone:

Respect your RP partner and their boundaries – always check their rules or about page.

Don’t force a plot – if you have an idea, discuss it with them first and make sure they’re interested.

Don’t godmod – this means don’t control another person’s character or make them do something without their permission.

Remember many blogs are multiship – which means each romantic pairing exists in a different universe or “verse,” unless the RPer says otherwise.

The RP community is full of creative people and welcoming spaces, so don’t stress about perfection. You're here to explore, connect, and enjoy! ^^

[youcouldbeit]

Charlie is always glad when someone sings along with her, even if she's somewhat unawares that not everyone has a choice in the matter. She always thought that song was a good way to see what the other's all about, and this time certainly no exception. While she has to confess his motives aren't quite up to the altruistic snuff, Heaven wasn't built in a day. ...Or was it?

She doesn't have time to think that over, of course, scepter twirling in full-swing as the synth score fades and is replaced with the 'heavenly' sound of harps and trumpets interspersed. Charlie slides along the coins behind him, taking Vox's hand as she passes to pull him along the sudden slope.

There's a grand gesture toward said building as they're outside the Hotel now, spotlights firing off into the sky. Pink and red lights searching the skies before honing in on a promised land that most of Hell only remembered because of their current location, rather than any hope of being amongst the angels. Pentagrams of those lights seeming to sizzle the distant clouds before flames pop up here and there.

"I know it seems like a far-off dream A crapshoot and a hope for the naive But maybe if we get the help of the V's It's just a bit closer than it may seem."

A flick of the wrist, a grandiose gold-trimmed letter appearing in her hand before it pops open to reveal a letter from 'Heaven', telling the recipient that they're going straight down with no recourse.

"So why don't we take their silly letter Calling you some sort of has-been Because you've done some little sin And send it right back to sender!"

She's tearing the letter apart, throwing it over her shoulders as she takes Vox's hands, spinning them both around to face out to the city; Hotel at their backs as the final chorus began. They're in the Garden again, the Hazbin Hotel fronted by that tree as apple falls to their outstretched hand. Music swelling, both synth and angelic intermingled, as they're flanked at either side by their facsimiles.

"So just take our hand We've got a plan that's just grand This Hotel may be for sinners But they're sure to be winners!

So take a chance on us Our cause is just Their lives never the same As they climb to newfound fame!"

The 'Heaven' in the sky bursts into pink, red and blue fireworks; popping the Hotel and Garden in brilliant colors as the song comes to an end.

They're back in the lobby again, as if that song had never happened, and Charlie is still gently lowering Vox's phone down with brilliant smile on her face.

"So, yeah, I can handle the musical aspect all by myself. As you just, um, clearly saw!"

There isn't much time to question the sudden transformation of the environment around him - and as drastic as it may be, he's nowhere nearly as shocked as he'd expect himself to be. Something about the nature of the musical outburst simply feels natural, just another part of reality's fabric.

The overlord doesn't hesitate to reach out to take her hand - or rather, the music wouldn't allow any hesitation. As soon as contact is made, pink flame moves harmlessly over Vox's body, to give him a slight makeover: the pinstripe tuxedo is replaced with a double-breasted suit in solid navy blue, the red-and-black waistcoat now matching that same single shade, paired with a red pocket square and black tie. All this is completed with a matching blue-and-red trilby - though notably much more two dimensional than Charlie's.

The television demon, without any need for prompting, moves into a swing dance, ducking down to twirl underneath the princess's hand before they begin to sing in turn. As the overlord opens his mouth, a synth score starts to accompany the jazzy, upbeat tune.

"This is a production Voxtek is proud to sponsor You know I'll do anything just to meet my target This number is step one to cornering the market If this is the kind of musical you can conjure!"

As he twirls away from Charlie, the background behind Vox now resembles the gold-and-pearl gates of Heaven itself, resting on a field of white clouds but twisted into ornate designs of interweaving currency symbols and his corporation's logo. Shimmering pennies rain down in slow motion his own chorus line of electric-blue Vox simulacra manifesting behind him to sing along.

"So just take my hand I've got a plan that's just grand This hotel's a faulty product That I can make the hottest!

So take a chance on me Just you wait and see I'll beat Al at his game And soar to newfound fame!"

With that chorus mirrored back and arms spread out wide like he's presenting his vision as coins start to pile up around him until they begin to form a Scrooge McDuck-esque pool up to his waist, "control" of the scene leaves Vox as quickly as it came to him, swinging back over to Charlie.

[kurochildren]

•●•●•▴▽▴▽

A multimuse kuroshitsuji/black butler blog focused around various children of the universe. Tread carefully with spoilers, does not tag them. Mostly canon compliant with some headcanons interjected.

CAUTION: Dark content ahead within the nature of the series. ¬ Muse list ¬ Headcanons ¬ Verses

⁑⁕⁑⁑⁕⁑⁑⁕⁑⁑⁕⁑

Rules & Info

Be respectful with general rp etiquette. No godmodding (without permission). Please no force-shipping or NSFW. (Suggestive things allowed within reason of series.) No shipping with any adults. Just be kind…

Since this is a multimuse blog; please say who you're referring to within asks if not discussed beforehand. I am no mindreader, it will be ignored otherwise.

I will additionally play characters within the series if they pop up in the rp even if they are not a child just to help move things long smoothly. Ex: Alois calling upon Claude. If no Claude is involved I will write him.

Third person, semi-lit replies. EST timezone. Motivation moves like a slider; if I do not respond I likely have not forgotten but got cold feet. Do not be afraid to reach out to me to talk about continuing elsewhere/dms if I do not respond to the thread. (Sorry…)

Mun is 20+, has been writing for 10+ years. Penned by Star If we talk about things, it's more then likely I'll be happy to write. There isn't much I'll generally deny, shipandletship. Have fun. Note: This blog is temporarily iconless, some characters may have icons though. It depends on how fast I am able to icon things!

▽▴▽▴•●•●•

[lady-haborym]

Mavuika Interaction call

Hello everyone! Mavuika is ready for some interactions and shipping fun! Whether you're looking for some sillies or a well-plotted encounter, this is your chance to get involved. By liking this post, you're letting me, the mod, know that you're interested in interacting with Mavuika.

Here are somethings you need to keep in mind before liking the post. If you do not follow these instructions, I may not interact with you.

Plotting: I am open to freestyling and letting the muses figure it out. But if you are someone who is interested in plotting something very specific that might affect my muses's lore, then please DM me and let me me know

Nature of Interactions: Specify the nature of your interaction in this post via comments or reblogs or message me directly

Platonic: Friendly or neutral interactions.Enemies: Conflict or rivalry.Ships: Romantic relationships.

Romantic Verses: Each romantic ship will be treated as a separate verse. While Mavuika's canon lore will stay the same, each ship’s storyline will be unique and not interconnected with other ships.

No Godmodding: Respect everyone’s characters and decisions. No controlling or dictating other characters’ actions without permission.

Respect & Communication: Keep interactions respectful and communicate openly. If you have any concerns or need to make changes, let’s talk it out!

[redinledger]

“You think you know me. You don’t.”

I'm Natasha Romanoff. Most people know the assassin. Some know the Avenger. Very few know the rest. I've spent most of my life hiding—behind names, missions, and silence. This isn't about redemption. It's just... a chance to choose who l am, for once. If you've got questions, ask. Just don't expect me to answer all of them.

Natasha is currently: taking a break

🔴 = off the radar

🟠 = slow replies

🟢 = fully operational

─────────────────────

RULES & GUIDELINES

Trust is earned. Respect is non-negotiable.

I. 18+ only for NSFW.

This blog is free and open to everyone for general content — I love sharing, chatting, and writing with all of you.

However, for any NSFW or mature-themed interactions, you must be 18 or older. No exceptions. Please respect this boundary.

II. Literate RP.

Multi-para to novella preferred. I write with intention, depth, and a focus on character development. Quality over quantity always.

III. No godmodding.

You control your muse, I control mine. Don't assume knowledge, and don't write for Natasha without permission. If I don’t answer your ask, it’s probably because you broke the rule.

IV. Multi-ship, chemistry-based.

Shipping is welcome, but not guaranteed. I ship with chemistry, connection, and mutual plotting. I enjoy exploring tension, softness, and everything in between — if it fits.

V. Plotting is encouraged.

DMs are open for plotting. Discord is available if we click. I love layered plots — espionage, emotional depth, found family, romance, you name it.

VI. Anons are welcome.

Want to interact casually? Ask Natasha something? Stir up drama? The ask box is open for anon messages. Feel free to flirt, interrogate, provoke, or connect — just keep it respectful.

VII. Triggering content will be tagged.

Let me know if you need something specific tagged.

VIII. Not spoiler-free.

This blog includes MCU canon, personal headcanons, AUs, and crossover content.

Most of all? Have fun. ♡

ANONS: 🐾❤️‍🔥🌺💗🔪💌⚔️🎀♠️🏍️🦉

─────────────────────

You don’t need to trust her. But if you want to try, she’s listening.

[buriedwithit]

"ignoring the party? that's the whole problem—there is no party. anyone can get some booze together." max is just one of those people that finds no appreciation in the human spirit—boo hoo, no moon. that happened once a month anyway! and as entertaining as some of the fighting had been, that's not something sol city is in short supply of, either. it's all just more of the same old thing. tail swishing, he huffs, "i mean, what do you think a party is? a lot of people standing around looking at the sky? not really my idea of a good time."

As a Fun Lord™, Jess could certainly help the fella out -- he'd definitely come to the right person! The only problem, you see, was that she did not know what he found fun. Sure, she could just literally force him to, but, in the reality he and most others saw, that would probably be considered going against his consent -- ya know, just... literally forcing him to, and all. "Well, whaddya find fun? Ya know, just ignoring the party entirely, what are some fun things t' ya?"

[fea-resources]

A Guide To Common Roleplay Terms

As an RP Oldie, I generally know most terms as they relate to roleplay. Sometimes I see these terms thrown around improperly, so here's an in-depth guide for those newer to the roleplaying sphere who might have some (honestly valid!) confusion over what certain terms mean that are important to both know/understand and recognize in order to co-habitate with your fellow roleplayers!

Godmodding

One of the most misunderstood terms on this list and often confused with Powerplaying. Godmodding (originating from the word "God-Mode") is essentially the act of either making your character unreasonably unbeatable or predetermining the outcome of attacks on someone else's character. In essence, imagine you're playing a video game with admin hacks which makes your character take no damage from other enemies in the game, while you have the power to damage/kill those enemies without consequence, and/or with way more power than you should normally have. This is essentially what godmodding is, but in writing instead.

Godmodding generally includes things like:

Creating undodgable/unavoidable attacks without prior discussion/permission, or landing "auto-hits" without permission, especially in situations where dodging an attack would usually be reasonable or likely.

Injuring or killing another character without permission.

Playing a character who never takes hits or injuries, thwarting all the other roleplayer's attempts to fight back, even when they should realistically be getting hit.

When it comes to acts of godmodding, your mileage may vary a bit, depending on various factors.

For instance, you might write with some people who are fine with minor godmodding or acts bordering on godmodding, within certain limits.

"Sally punched Jack in the arm once" might be an acceptable level of minor godmodding/auto-hitting, but "Sally grabbed Jack by the throat then punched him in the face before flipping him onto the ground and kicking him in the spleen and then kicking him in the balls before stomping on and breaking his fingers" is guaranteed not to fly with anyone and will get you in hot water real fast.

Power-scaling is also a factor that should be taken into account. Its often easier to judge power-scaling between characters when they are canons, especially from the same series, because we already have good reference material for which characters match up to other characters, and how they match up. Power-scaling between characters of different canon series (crossovers) may take a little bit more communication, while OCs can be the most difficult to gauge and likely require more heavy communication since frequently, neither side has a solid reference point for one another.

Either way, when you engage in roleplay with characters who have clear power-scale differences, its generally understood between most good-faith roleplayers you are entering into a social contract to respect certain power imbalances, with or without direct communication about it (though direct communication is always ideal). Whether the character within the roleplay recognizes these power differences isn't relevant, so long as the roleplayer playing that character understands -- out of character -- what trouble they will be getting into if they engage in certain behaviors and are ready to accept the consequences of a beaver poking a bear.

Lets say though for instance that Sally is a muscular, decorated super-soldier war hero with the power to teleport at will. Jack's biggest accomplishments in life are bagging groceries and playing video games after work and school. For whatever reason, Jack decides to attack Sally, and Sally teleports behind him and captures Jack in a restraining choke-hold, warning him to stop picking a fight or she will hurt him. This isn't really godmodding, or at least not unacceptable or unpredictable godmodding. Any reasonable, good-faith roleplayer will recognize this as natural action and consequence between characters.

It would be unreasonable godmodding if, without discussion or agreement, Sally teleported behind Jack and decided to instantly snap his neck, instantly paralyzing him for life/hospitalizing him or killing him.

In the reverse scenario, let's say Jack attacks Sally. Sally teleports behind him and goes to put Jack in a choke-hold, but then Jack -- despite not knowing Sally has the power to teleport before this -- somehow manages to jump away and avoid Sally completely while mocking her attempts to fight back despite that he should have been caught off-guard and doesn't have super-soldier reflexes or training. Or alternatively, Jack instantly grabs and overpowers Sally and flips her onto the ground, before jumping on top of her and beating her up with rabid-fire punches to the face that "Sally could do nothing about". This would be definite godmodding as well as a breach of the social contract Jack and his roleplayer entered into by engaging with a character that is obviously more powerful than he is.

A good rule of thumb when you're not sure how far to go (and which somewhat overlaps with Powerplaying) is to write certain actions as attempts rather than guaranteed hits, whenever reasonably possible. For instance, "Sally threw a punch towards Jack's head" vs. "Sally punched Jack in the head". This allows you to state your intended action while leaving the outcome in the hands of the other roleplayer to decide. Especially when engaging without direct communication, or with new partners whose boundaries are not yet clear to you, this is the best method to use to make both sides feel respected. Likewise, putting the ball in the other person's court will indirectly inform you how likely the other person is to engage/not engage in godmodding or other bad faith etiquette, either purposefully or accidentally.

When in doubt, communication is the best route, especially if you've found your character cornered into a bad situation they're not ready to handle, or if you're dealing with another roleplayer's character who is pushing all the wrong boundaries and is about to invoke some serious consequences from your own powerful muse.

Again, whether something is counted as godmodding will depend on various factors and comfort levels of each person involved. Likewise, boundaries may differ between partners. You may see someone writing what appears to be "godmodding" or things you wouldn't tolerate in your own interactions because two other roleplayers have been writing together for 10 years and know each others' limits extremely well even when direct communication isn't happening, or they may be communicating their limits to each other in private chats you don't have access to seeing.

The limits and allowances that happen between other roleplayers, while sometimes helpful in recognizing certain patterns or clueing you in to their style of play, should not be used to automatically inform how far you are allowed to go with their characters without clear communication and understanding, especially with newer partners, because there may be other factors at play which change the rules of engagement on a case by case basis.

Expecting to be automatically be given the same level of clearance in how far you can push things with someone you've barely started writing with, compared with another roleplayer who has been writing with someone for 10 years, is running a high risk of unintentionally burning bridges, as chances are that other partner of 10 years has earned trust over time and many interactions to intrinsically know what is too far and what isn't. Engaging in the same exact manner without building that trust first is, at the very least, going to make most seasoned roleplayers wary of how many boundaries, both in-character and out-of-character, you may cross and less likely to want to engage.

Powerplaying

Often confused with godmodding, though they often overlap with each other. Powerplaying is the act of taking control of or deciding things for another person's character, most often without permission.

This can be anything from deciding what another character thinks, rather than let the person actually playing that character decide, to fully controlling another characters' actions.

For instance, let's say the player of Sally writes something to the tune of "She swiveled to face Jack, resting her hand on her hip, and she could already see how Jack's face was turning a little red, clearly thinking about how sexy she looked while doing it", without any prompting, hints, or discussion this would be Jack's reactions to her. And in fact, Jack isn't even the type of character who would like Sally, at all, but Sally's writer decided already ahead of time and on their own that Jack would find her sexy and be attracted to her, because they want to force Jack to feel a certain way about her that Jack simply wouldn't feel if left in the hands of his own writer. This would be a clear act of Powerplaying.

However, while we're on the subject, we should clarify the difference between Powerplaying and Misconceptions. Because characters are absolutely allowed to misinterpret each others' actions or reactions. For instance, let's say that Jack's face is turning red when he looks at Sally, but its not because he finds her sexy, its because he's angry at her for something. Sally then reacts with something like "She saw his face turn red as she rested a hand on her hip, raising a brow. Oh, he must be one of those. Flustered by trying to confront a sexy woman such as herself." This isn't Powerplaying (necessarily; nuance is important), this is a character's flawed, internal interpretation of a situation.

The action (Jack's face turning red) was decided by Jack's roleplayer, while the reason for his face turning red was incorrectly interpreted by Sally.

Remember, characters are allowed to think and say things that are wrong! Their writers just aren't allowed to make decisions on what the other person's character is actually feeling/doing under the hood.

Another example of Powerplaying, but with actions, would be something like "Jack continued to poke and prod until he pissed off Sally enough to swing a punch right in his face", controlling Sally's actions. Or as another example, "Sally finally got pissed off enough by Jack's antics and punched him in the face so hard that Jack instantly started crying and ran away in fear." This would be Powerplaying (and a little sprinkle of godmodding too).

Powergaming

Powergaming is a close cousin to Godmodding, but they're not a 1:1 twin of each other. Powergaming is the act of playing or creating a character with the explicit goal in mind of wanting to play a more powerful / badass character than your other, typical characters.

Powergaming in itself isn't inherently bad, but it is an easy slippery slope to fall into godmodding if the player isn't careful and very self-aware.

Some people just enjoy the powerful character archetype in general or find it relevant to have such a character for certain plot narratives, while other people want to play powerful characters with the explicit goal of abusing/bullying other characters or making them irrelevant to the plot-line in bad faith. Its usually fairly obvious which one a particular roleplayer is by their out-of-character conduct, as the second type will usually be/talk belittling of other people's characters out-of-character as well, or talk openly about how much better their character is than everyone else's. The more brazen, malicious breed of Powergamers will even openly challenge why other characters should be involved in a plot or be allowed to do things because their character can "do it better/faster/etc", actively trying to remove other characters from the narrative to replace them with their own, to the detriment of other roleplayers (when a Powergaming character becomes a Sue/Stu).

The difference between Powerplaying and Godmodding usually comes down to whether or not the roleplayer is willing to allow their character to be beaten (within reason of their power-scale), take hits, or have flaws in other areas which make up for their overwhelming level of power in a way that grants other characters in a plot some meaningful relevance.

This doesn't necessarily have to be exercised in any one particular way. For instance, if you have a Powergaming character who is a nearly-unmatched badass on the battlefield, their drawbacks don't have to be specifically combat-related. They could be the main character who handles combat scenarios, but entirely useless and a bumbling idiot in social affairs, or have no idea how to be stealthy when the plot calls for sneaking around quietly, or perhaps your plot calls for diving into the ocean and your combat badass refuses to get into the water because they have an extreme paranoia about sharks, even when everyone is telling them there are no sharks around to be afraid of.

Another good strategy for people looking to play a Powergaming character is to hold back that character when its not actually needed for them to flex their power. This can be done out-of-character, such as finding a reason to make them unavailable (yeah, they could single-handedly fist-fight Godzilla, but they're 3 towns over doing their Christmas shopping and their phone plan ran out of minutes so they're unreachable and have no idea Godzilla is there), or only have them use whatever amount of power is needed to help with resolving the plot but not completely take it over (yeah, they could single-handedly destroy Godzilla with one back-hand, but everyone else on the team seems to be handling it just fine, so why bother? You guys got this. Go team!)

Whether the reason is an OOC or an IC one, the Powergaming character should allow other characters to maintain plot relevance and give them opportunities not just to participate, but have badass moments of their own.

However, there is a balance that should be struck here. For instance, you might have Badass McSmackerson not help out in a fight when other characters don't need help and let them resolve things on their own, but when the other characters actually want their help or involvement in a plot, or maybe even want to see Badass McSmackerson Do The Badass Thing, they should still be willing to step into the plot, rather than be obnoxious about it (such as "Yeah I see you guys struggling, how pathetic. I COULD handle this whole thing by myself... but just to hold up the plot, I will sit here and just watch you all struggle instead while I gloat about how awesome I am and how you all suck.") The Powergaming character should still be willing to be a team player in whatever way is most helpful to holding the plot/interaction together without actively undermining the other participants.

OP (Overpowered)

A rather straightforward term which means exactly what it says on the tin. An OP character is just that, a character who exceeds the average power-scale for whatever series or roleplay space they are involved with.

OP characters and Powerplay characters are usually one and the same, and as said before, can be a real slippery slope into potential godmodding.

However, as said above, just being OP isn't a bad thing so much as how they are played and how they engage with other characters and plot-lines.

When playing canon characters, some are also just OP by design of their own series, to no fault of the roleplayer themselves, which is (and should be) commonly understood by other roleplayers within the same fandom space to be the case.

Some roleplayers choose to dial back/water down their characters to a more "manageable" level from their canon, while others choose to remain faithful to the source material, power scale and all.

Neither are particularly better or worse than the other, but both have their advantages and disadvantages depending on the preference of the writer and their partners.

Metagaming

A close cousin to Godmodding. Metagaming is the act of giving your characters knowledge that they realistically should not have.

For instance, one character might be an ancient 1,000 year old vampire, but looks like they're 30. Let's say Billy Bob, who has only ever heard vague vampire stories, but never heard of or seen proof that vampires really exist, bumps into Dracula at a bar late at night. Within five seconds of meeting for the first time, Billy Bob is not only acting suspicious of Dracula, he specifically thinks Dracula might be a supernatural monster, despite not seeing any special fangs or any reason why he should suspect as much. Dracula, reasonably, acts like Billy Bob is just some random drunk weirdo spewing nonsense to harass him, and even shows off his teeth and goes "Look, I don't have any fangs! I can't be a vampire." Despite this, Billy Bob keeps pressing that he knows Dracula is a thousand year old monster. How does he know? Well, he just does! No other reason needed! Or the reasons he knows are so convoluted they may as well not be reasons at all ("Well, I've only ever seen you outside at night, like at this bar!", never mind there are people who work night shifts, or that Billy Bob also only ever goes to the bar at night, as do hundreds of other people who he does not hold any suspicions about, and the fact that Dracula shows off his flat teeth trying to prove he's not a vampire just proves it more, of course!).

As another example, a writer might make their character behave differently as soon as they know out-of-character information that the character shouldn't know. For instance, Jane and Dan both work and adventure together. One day, Jane finds a valuable treasure she wants to keep to herself, and tells no one about this item before hiding it in a special place that, again, no one knows about. Five minutes after Jane has hidden this item, Dan immediately goes to fish it out of hiding, despite never seeing Jane hide it, not knowing about the item, or the hiding place where it was stashed, only because Dan's writer knows Jane had it.

As another example, a villain character attends an open party disguised as just another normal guest. The heroes of the plot also attend the party, and somehow -- despite never meeting this particular villain before or even knowing about them -- all of them act incredibly suspicious because they just "feel like something is off". Despite that this villain character acts completely reasonable, civil, and peaceful, the hero characters relentlessly antagonize them, and even outright attack the disguised villain, without provocation, while still declaring they are "in the right" because they somehow just intrinsically know this person is evil, when they should have no reason to even suspect as much.

Railroading

Simply put, railroading is the act of forcing a specific plot path, interaction, or result on other players, while allowing few alternative options, like a train stuck on a fixed railroad (hence the term).

Most people use railroading with negative connotations, but there is in fact a correct and incorrect way to use it.

For the "incorrect" way to use railroading, let's say that the main meat of a plot happens in a town that the characters are traveling towards, starting on a road. Ahead is the town, while there is a forest to the left, and a cave to the right. Other than the OOC desire to reach the plot, there is no immediate time-frame or hurry in the roleplay itself to reach this town. Jordan decides that the town can wait, he wants to explore the nearby area first, but Max wants to go straight to the town and cannot convince Jordan to go there immediately. Rather than the writers communicating or coming up with a side-plot to explore first, or agreeing OOCly to have Jordan go to the town to get straight to the main plot, Max decides that as soon as Jordan tries to explore the cave, there is a cave-in that completely blocks it. Jordan gives up on the cave, but wants to explore the forest. Suddenly, Max's writer decides that as soon as they try to enter the forest, a pack of wolves attacks and chases them to town, and the wolves have no relevance whatsoever to any plot-lines, they only exist to force Jordan to go to the town like Max wanted all along, even though Jordan's writer had interesting ideas they wanted to introduce involving the cave and forest, removing Jordan's agency from contributing to the roleplay and forcing them to only go along to Max's plot. No deviations are allowed, despite that there's no real reason to force them not to detour a little from the plot.

There are times when railroading is actually appropriate, or even necessary, however. Let's say for instance that Jordan and Max are trying to reach a town where a hidden doomsday clock is counting down. In 12 hours, the world will end if they don't do something about it. However, Jordan decides in the middle of this plot that he wants to go hunting for treasure in a nearby cave. The treasure he wants to look for doesn't really have anything to do with resolving the doomsday plot, nor does the cave itself, and the characters reasonably have no time for such a side quest when the fate of the world is at stake, so circumstances are set up to block Jordan from going off on an unrelated side-quest that would completely derail the primary plot.

Ideally, whenever possible, its a good idea to aim for soft railroading. For instance, Jordan and Max are traveling to a town where the primary plot-line waits for them, but the need isn't immediately dire. On the way to the town, Jordan sees a cave he wants to explore for the possibility of treasure. Rather than block Jordan from exploring the cave, he and Max go on an impromptu side-adventure. Regardless of if any treasure is or isn't found, other events still happen, and at the end of the side-adventure, it turns out that the other side of the cave exits right out into the sewers or a basement of a building within the city where the primary plot happens, neatly delivering them to their main goal. Technically, railroading still happened (making the characters conveniently arrive in the town), but while allowing some player/character agency or choice in how they got there.

Mary Sue / Gary Stu

A widely misunderstood and misused term in the roleplay community, but at its core, a "Sue" / "Stu" character is an unreasonable spotlight hog. This is a character who is explicitly designed with the goal in mind of being "Better Than Everyone Else, Not Because It Was Earned, But Because The Writer Said So".

Mary Sue / Gary Stu is frequently mischaracterized simply as a "character who doesn't have enough flaws" or "a character I find annoying". This is absolutely not what a Sue/Stu is.

A character can have very few flaws and not be a Sue/Stu, or an overwhelming number of flaws and still be a Sue/Stu.

What matters isn't what traits the character themselves has, its the way they use these traits in practice in order to steal relevance away from other characters.

For instance, Jake is a character who helps lead an organization. He has worked hard for years, earning the trust of those around him, making personal sacrifices, training himself in all the relevant skills needed to fulfill the requirements of being a leader others can depend on. Then, after years of struggle, he is finally elected to be one of the group's leaders. By contrast, Gary Stu is the new guy on the block. He hasn't really done anything for the group, he has no friends or anyone who trusts him, nor does he have any of the relevant skills needed to help run the organization he works for, nor has he made any sacrifices to get there, but in just a week, he's elevated to the same position with the same exact privileges and responsibilities as Jake has, including power over all the other lower ranking members of the organization who have been there much longer and proven themselves. Why? Well, because he just deserves to be, because he's just that awesome sheerly by existing! And everyone can just see how awesome he is! And that should be a good enough explanation!

Or as another example, Jake is a character who has trained his entire life to be a master swordsman, the best in the region he lives. He comes from a long line of swordsman, wielded a sword since he was old enough to lift one, and it took him 40 years to achieve this level of mastery, training every day for those 40 years to get to the level he's at. Gary Stu has never picked up a sword in his life, but after just one month of training, not only has he grown to be just as good as Jake, he's actually now better than him at it.

However, becoming better than another character is not the only way to become a Sue/Stu character. A character can also become a Sue/Stu by being so completely incompetent they can never be left on their own to solve problems by themselves.

Remember; a Sue/Stu isn't a "perfect character" -- they are designed to steal spotlight they don't deserve to have, rather than attention they naturally earn by being legitimately interesting and developed, no matter how they have to steal that spotlight.

Let's say that Jake, Tom, Missy, and Mary Sue are all on a journey together. It seems like, at every turn and no matter what else is happening, Sue is always in some kind of trouble that requires the other characters to come to their aid, to a ridiculous degree. Jake, Tom, and Missy start taking certain precautions in order to ensure that Sue stays out of trouble so they don't have to keep rescuing her, but it doesn't matter. Sue will always find some way to need to be rescued regardless, and none of Sue's problems can ever be resolved without being rescued. If Missy gets shot in the leg, Sue will magically find a way to get shot in the heart in the most contrived way possible and make everything about herself. If Jake decides to help Missy, and Tom decides to help Sue, Sue will find a way to make all three of them pay more attention to her than to Missy and make her own situation somehow more dire, just to get more attention than everyone else.

Again, a Mary Sue / Gary Stu isn't a "flawless" character (though they can be). The stereotype of the "flawless" Mary Sue/Gary Stu is a symptom, not the entirety of the problem.

Mary Sue / Gary Stu is someone with Main Character Syndrome dialed up to 11, where other characters only exist as vehicles to give Sue/Stu attention.

If they aren't getting the attention or adoration they want, no matter what method or traits they need to employ to hog attention (even if its negative attention!) at the expense of other characters, they will try to arbitrarily force it until they are either getting the special treatment they think they inherently deserve, including villainize anyone who is interfering with the special treatment they are "owed", or they will become so obnoxious no one wants to interact with them at all anymore.