#im weak for an infidelity plot

[loverbcys]

CLOSED - maxed out on separate replies

open to: m/f/nb - subs/bottoms

muse: logan hwang , a 32 year firefighter/personal trainer

plot: (we can uh uh in it) logan and your muse have been hooking up on the downlow, and are getting freaky in his car

possible connections: best friend with benefits, ex, sneaky link, wife's sister/brother, step sibling, gym partner, anything follow your heart tbh

"yeah babe, i'm running a bit late tonight, but i should be home in an hour or two- yeah- i miss you too, i'll see you soon baby." he spoke into the bluetooth of his car, his wife's voice on the other line, where she was blissfully unaware of the way one of logan's hands gripped the wheel as the other cradled the back of the head that was currently bobbing in his lap; the top of his porche down as he drove through the backroads. "i've got to go, traffics is getting bad- love you too."

[inevitably-johnlocked]

Okay, so my ask was about fanfics where either John or Sherlock hallucinates and sees the other one after him (allegedly?) dying. As in, actually hallucinates, not mistakes a real one for a hallucination. Have you encountered anything like that?

Anonymous said to inevitably-johnlocked: hi! i hope you're doing fine! i feel really bad for asking, but i really suck at searching, and as i see everyone asking you, i wanted to see if you could help me, if you dont want to, its fine, i feel like im taking adventage of you... im searching for fics post TRF in which John hallucinates with Sherlock, or fics in which Sherlock comes back but John cannot believe it because he hallucinated with him ... im sorry again for bothering you! hope you have a nice day

Hi Lovelies!!

Ahhh, I don’t have a LOT that have this premise, so I’m just going to give you all of the fics I have tagged with hallucinations :) I do suggest “The Quiet Man”, which has this as the primary plot point (down below) and it’s a long one so I think that will best suit you requests, but DO check out all of the others on this list! <3

And as always, Lovelies, if you have something more to what my Nonnies are looking for, please suggest them!

HALLUCINATIONS

Hallucinations can't open doors by Bespectacled dreamer (K+, 1,330 w., 1 Ch. || Reunion, Hurt / Comfort, Friendship, Hallucinations, John’s Wedding, Light Humour) – In which John gets married and Sherlock gets a broken nose.

Quite Contrary by Hollyesque (T, 1,805 w., 1 Ch. || HLV Fic, Sherlock Whump / After Mary Shot Sherlock, Hallucinations / Flashbacks / PTSD, Hospitalization, Hurt/Comfort, Lestrade POV, ) – A short one-shot, alternate scene to Greg's hospital visit in HLV. Instead of Sherlock disappearing, Greg is faced with an unexpected reaction to a hospitalized Sherlock and winds up figuring out something that he really would have rather not known.

Bitter Nights Turned Sweet by Hyliare (T, 4,076 w., 1 Ch. || Pre-Slash, Insomnia/Hallucinations, Emotional Hurt/Comfort, POV Present Tense John Watson, Cuddling/Snuggling) – Sherlock has always had trouble sleeping; he hasn't always had someone in his life willing to help.

Between Asleep and Awake by katydidit (K, 4,309 w., 1 Ch. || Friendship, Sick Fic, Post-TRF / Reunion) – John is sick. Incredibly, extremely, dangerously sick. Plagued by a high fever, he begins to hallucinate, start seeing things that aren't really there. Because they can't be there. Can they?

A Is For Aftermath by ElvendorkInfinity (T, 10,567 w., 1 Ch. || Injury / Whump, Hurt/Comfort, Friendship/Pre-Slash/Bromance/Platonics, Hallucinations, Introspection, Insecure / Worried John, Big Brother Mycroft, Alternating POV, Anxious Sherlock, Self-Deprecating, Mildly Possessive Sherlock, 3G Moment) – John is still hallucinating, Sherlock cannot sleep, and Lestrade has a new case for them. But will life at 221B ever be able to return to normal? Epilogue to M is for Moriarty.

I Will Take Care Of You by SailorChibi (T, 16,664 w., 15 Ch. || Hurt/Comfort, Sick Sherlock, BAMF John, BAMF Lestrade, Reunion Fic) – Two years after Sherlock's death, John comes to find him on the sofa. Wounded and ill, Sherlock is convinced he's hallucinating and refuses to share any details about Moran or the fact that Mycroft has been compromised. That doesn't stop John from stepping up and taking care of the last of Moriarty's web, BAMF-style.

Wonderful, Etcetera. by VictoryCandescence (T, 16,955 w., 3 Ch. || Wonderful Life AU || Alternate Timelines, Brotherhood, Homophobia, Suicidal Ideations, Mentions of Drug Use, Friendship, Different TRF, Sherlock’s Past, Victor Trevor is Past Boyfriend, Depression, Hallucination?, Love Confessions, Christmas, First Kiss) – Sherlock thinks everyone would be better off if he had never existed, including and especially himself. When he finds himself in a world in which his wish has been granted, he begins to think perhaps even he could be wrong – but it takes an unlikely chaperone to make him not only observe, but understand.

I Think I've Come A Long Long Way To Sit Before You Here Today by ArwenKenobi (T, 18,251 w., 3 Ch. || Grief/Mourning, Passage of Time, Major Character Death, Alternating POV, Sherlock Whump, Pining Sherlock, Hospitalization, Coma, Revenge Murders, Hallucinations, Love Confessions, Brutal Accident, Mystrade, Ghost John) – One year after John is killed Sherlock starts to wonder whether John has actually gone anywhere.

A Home for Us by sussexbound (M, 30,581 w., 12 Ch. || Scars, Bedsharing, Grief, Doctor John, Hurt/Comfort, Post-TRF, Implied/Referenced Torture, Sherlock POV, Pining Sherlock, Suicidal Ideation, Heavy Emotions, Clingy Sherlock, Hallucinations, Disassociation, Emotional Turmoil) – He has been on the road for two years, and he is exhausted. He’s almost accepted that he will never see London (John) again—almost. But then there are nights like tonight, where he is weak, and all he can think of is the warmth of the flat they once shared, the crackle of the fire in the hearth, the teasing smile playing at the corner of John’s lips, the boxes of half-eaten Chinese takeaway balanced precariously in their laps. He aches at the memory of it, at the realisation that it is something he may never experience again.

Impossible to Feign by achray (M, 49,204 w., 12 Ch. || TRF Rewrite / Reverse Reichenbach, Suicidal Ideations / Discussions, Drug Use/Abuse, Mutual Pining, Friends With Benefits, John Accepts his Sexuality, Anxious Sherlock, Meddling Mycroft, Depression, Hallucinations, Secret Agent John, BAMF John, Reunion, Make-Up Sex, Ambiguous Ending) – Sherlock leant forward, his long fingers curving round to grip John’s.“I won’t let him win,” he said, eyes hard. “I will do whatever it takes to get you out.”

Lunar Landscapes by J_Baillier (M, 57,046 w., 21 Ch. || PODFIC AVAILABLE || S3/TAB Fix-It, Slow Burn Angst, Drama, Hurt/Comfort, Confessions, Drugs, Pain, Medical, Injury, Sherlock Whump, Mental Health Issues, Panic Attacks, Romance, Secrets, Tragedy, Trauma, BAMF John, Doctor!John, Drug Addict Sherlock, Injured Sherlock, Grieving John, Idiots In Love, Protective John, POV John Watson, PTSD Sherlock, Sherlock is a Mess, Medical Realism) – An accident forces John to face the fact that Sherlock's downward spiral had started long before his flight to exile even left the tarmac.

The Vapor Variant by 88thParallel (CanadaHolm) (M, 72,684 w., 18 Ch. || Post-THoB, John Whump, Protective Sherlock, Guilty Sherlock, Anxious/Worried Sherlock, Virgin Sherlock, Angst with Happy Ending, Hurt/Comfort, PTSD John, Slow Burn, Mutual Pining, Suspense, Virus, Sickfic, Big Brother Mycroft) – They stood face to face in the middle of a clearing. The dim light of the moon barely allowed Sherlock to see the glassy terror in John’s eyes and the sweat that glistened off his forehead. His nose was bleeding again, blood dripping in a slow stream from his right nostril. They were both gasping for air, John’s eyes locked on Sherlock’s. There was no recognition there, just wild animal fear. Time stood still for an eternal few seconds, and Sherlock took a shaky breath. “John—”Spell broken, John spun and bolted back into the woods. Still heaving for air, Sherlock took off after him.

The Summer Boy by khorazir (T, 94,706 w., 6 Ch. || Post S3/Post TAB/Alternate S4, Friends to Lovers, Asexual Sherlock, POV Sherlock, Flashbacks, Bullying, 1980′s Kid Sherlock, Emotional Hurt/Comfort, Inexperienced Sherlock, Grief/Mourning, Pining Sherlock, Case Fic, Sherlock’s Past, Awkward Conversations, Anxious Sherlock) – About half a year after the fateful events at Appledore, Sherlock and John embark on a private case in Sussex. For Sherlock, it’s a journey into his past, bringing up memories both happy and sad that he has locked away for almost thirty years. For John, it means coming to terms with the present – and a potential future with Sherlock. Part 1 of the The Summer Boy series (possibly Imaginary Friend)

Against the Rest of the World by SilentAuror (E, 151,714 w., 20 Ch. || PODFIC AVAILABLE || Post-TRF, Hiatus Fic, POV First Person Sherlock, Present Tense, First Kiss/Time, Big Brother Mycroft, Escaping from Capture, Soft Sherlock, Toplock, Insecurity, Infidelity, Travelling, Introspection, Pining Sherlock, Depression, Fantasies, Yearning for the Past, PTSD Sherlock, Suicidal Ideation) – Sherlock has been away from London for nine hundred and twelve days and counting, and has no idea what sort of reception to expect when he finally returns.

The Quiet Man by ivyblossom (E, 157,369 w., 58 Ch. || Post-TRF, John First POV, Grief/Mourning, Angst, Present Tense, Imaginary Sherlock) – "Do you just carry on talking when I'm away?"

Proving A Point by elldotsee & J_Baillier (E, 186,270 w., 28 Ch. || Me Before You Fusion || Medical Realism, Insecure John, Depression, Romance, Angst, POV John, Sherlock Whump, Serious Illness, Doctor John, Injury Recovery, Assisted Suicide, Sherlock’s Violin, Awkward Sexual Situations, Alcoholism, Drugs, Idiots in Love, Slow Burn, Body Image, Friends to Lovers, Hurt / Comfort, Pain, Big Brother Mycroft, Intimacy, Anxiety, PTSD, Family Issues, Psychological Trauma, John Whump, Case Fics, Loneliness, Pain) – Invalided home from Afghanistan, running out of funds and convinced that his surgical career is over, John Watson accepts a mysterious job offer to provide care and companionship for a disabled person. Little does he know how much hangs in the balance of his performance as he settles into his new life at Musgrave Court.

[miracvlovs]

✗✗✗   you see [ kaleb yıldırım ] around lately? yeah i heard that the [ cis male ] is up to no good. [ he / him ] has been here for [ five years ] now but they’re still pretty [ abrasive ] which is fine because they’re also [ debonair ] so it balances out. the [ twenty-eight ] year old [ hitman for hire ] actually looks like a lot like [ alperen duymaz ], don’t you think? it’s best to watch out, though, because it’s been said that they’re really into [ strong cigarettes & even stronger whiskey ].

hey, hello, hi, bonjour! s’up buttercups? ‘tis i, your friendly neighbourhood loser chrissie ( a.k.a an irish doofus who is utter plot trash and the actual WORST at keeping track with discord messages, oops ) and i’m super duper excited to be here among you fab human beings! anywho, this is my first kiddo kaleb and he is … how do you say … morally grey. basically his morals are very questionable in every aspect. but! on the plus side, he’s very talented and good at his job even if he is ruthless and callous, oop. he is … the worst and also lowkey messed up inside tbh so pls excuse his blunt and sarcastic nature. plot-wise i’m open to literally anything and everything so come at me with any ideas ya got! i’m always diggity down to spit ball ideas and form some dope connections so pls feel free to invade my ims or hmu on le cord ( chrissie.#9606 ) and we can brainstorm until our heart’s content! if ya wanna, go ahead and light that lil grey heart up red and i’ll shimmy my butt your way for all of the good stuff. anywho, let’s get down to the nitty-gritty, shall we?

fundamentals.

KALEB EMER YILDIRIM     —     twenty-eight, hitman for hire,   +   one snarky son of a gun   /   troubled dude with daddy issues   /   all issues tbh ! 

aesthetics   ➤   dried blood caked into the grooves of cut knuckles, the lingering scent of smoke and gasoline, silver slivers of past scarring, five o’clock shadow peppering a blunt jawline, discolourations of blue and purple decorating battered hands, a subtle smirk etched upon a devious countenance, calloused fingertips riddled with small paper cuts, dark circles under almost-black eyes, the noise of screeching tires in the middle of the night, a tall stature adorned in all-black attire, ghosts of bruises staining calloused skin green, a scuffed zippo lighter in a pack of marlboros containing only one cigarette, white shirts with the sleeves rolled up to the elbows, a sly grin under stormy dark eyes, a sniper on the roof of a deserted building, the roar of a car engine, & clenched, white-knuckled fists.

nicknames. kal.

date of birth. november third.

gender. cis male.

pronouns. he + him.

birthplace. manhattan, nyc.

orientation. bisexual + aromantic.

education. bachelor of music degree obtained from manhattan school of music.

spoken languages. can speak fluent english, turkish, spanish, & french.

negative traits. haughty, abrasive, enigmatic, cynical, temperamental, calculating, hedonistic, distant, sarcastic, & volatile.

positive traits. adept, diligent, charming, resilient, candid, adept, charming, audacious, determined, & resourceful.

strengths. efficient, energetic, self-confident, strong-willed, strategic thinker, charismatic, & inspiring.

weaknesses. stubborn, dominant, intolerant, impatient, arrogant, poor handling of emotions, cold, & ruthless.

talents. piano, retaining information, memory recall, lock-picking, carjacking, hand-to-hand combat, automobile knowledge, tracking people down, & excellent problem-solving abilities. 

physiology. dark brown eyes. dark brown hair. six feet, one inch tall. of a lean, broad stature with a straight posture and evident height. has a few silvery scars littered across his skin. has a few tattoos in a few less visible places. is ambidextrous.

psychology. scorpio zodiac. water element. slytherin house. entj-a. chaotic neutral. type eight enneagram. choleric temperament. interpersonal intelligence type. addicted to alcohol, tobacco, prescription drugs, cocaine, and cannabis. suffers from addiction and insomnia. his vices are lust, wrath and pride. his virtues are ... honestly, probably just diligence tbh.

background.

possible triggers   :   infidelity, divorce, alcoholism, drug abuse, cancer, death, car crash, funeral, blood, murder, suicide mention, gun mention, & various references to death and murder. 

a synopsis.   ah, here he is—my tol, troubled, grouchy son : ' ) don't u just adore ur resident trashy, snarky, but precious and sad fuckboi muse? bc i know I DO! anyways, before i digress, i'll cut to the chase. so, waaay before he blessed the universe with his presence, his mother ( who was originally from turkey ) moved to the states where she met one alexander hale. you can probably guess the rest: the pair married, they had children, everything seemed to be going swimmingly, yada yada. here’s a lil background: the hale family—a line of manhattan-born businessmen / lawyers / diplomats etc. they're dripping in wealth, not always as squeaky clean as they portray themselves as to be. kaleb’s dad was a douche, expected both of his sons to follow in his shadow and become lawyers, ran around behind his wife's back: the whole shoot and shebang of a classic a-hole. he always kind of ignored kaleb in favour of his eldest son joshua so kaleb kinda became hard-hearted and resentful due to the lack of his father's attention. skip a few years and he spied his dad cheating on his mother with his secretary though he refused to tell another soul for fear of any potential backlash. soon enough, his mother found this out for herself, their argument ruined his thirteenth birthday party then they divorced soon after. his mother fell off the wagon, became terminally ill—all while his father was remarrying and expecting a daughter with his secretary. it was a hella rough two years for kaleb. it got even worse. eventually, his mother passed away and his step-mother divorced his father to breeze off into the sunset with her new lover; leaving her daughter with her piss-poor excuse of a dad. at this point, kaleb was lonely and angry but adopted the role of his step-sister's protector, shielding her from their father's increasing substance abuse induced violence. just before his seventeenth birthday, his father died in a car crash. of course, he didn't entirely mourn the loss. almost immediately, he and his younger sister moved in with their elder brother who helped kaleb get into university. with dear ole dad out of the picture, he could finally pursue his interest and flair for music. after he graduated, he moved to santa ysabel with his brother and brother's family. in the beginning, things were going fine. yeah, sure, he was struggling for work and felt bad that his brother had to keep him afloat. normal stuff. then, one day, things quickly turned sour in his world. [ TRIGGER FOR GORE, BLOOD, SUICIDE MENTION, GUN MENTION, MURDER, DEATH ] he’d came home to find the locks on the doors busted, advancing into the house carefully only to find his brother’s lifeless corpse crumbled on the kitchen tiles: his throat and wrists slashed, posed as a suicide. of course, kaleb knew better. he knew his brother; knew he would never leave him or his family. upon further inspection of the house, he’d discovered the body of his wife upstairs: a bullet hole between her eyes. [ TRIGGER OVER ] the whole ordeal was enough to turn his stomach but once the sickness had subsided, all kaleb felt was a strong thirst for blood. sure, it was pretty damn stupid to try and seek revenge or whatnot ... but kaleb had always been one to let his heart guide his brain. anyways, time skip now to the moment he’d uncovered his brother’s entanglement with some dodgy loan shark, drug dealing criminals who were responsible for his murder. in the end, he’d hunted them down and eradicated them one by one, over a span of weeks. at first, he hated himself and what his desire for vengeance had turned him into but he kept going until he’d got them all: until he’d grown numb. truthfully, how he wound up taking lives for a living is beyond him. he woke up one day, found himself hired by some big-wig businessman who wanted rid of his business partner and et voilà, he was tangled up in the dark side of existence. i mean, was he blackmailed into doing his first paid hit? yes. but who can blame him? especially when they claimed to have intel regarding the sudden demise of a prominent figure in the criminal underbelly of the city, a.k.a his brother’s killer. it was a risk kaleb simply couldn’t take. he prefers to keep himself anonymous, hidden behind shadows, unsuspecting. death has become a job. nothing more. nothing less. it’s simply the algorithm of his existence: receive a dossier, take care of the target, get paid a hefty lump sum. and all just for enacting a stranger’s revenge in the blood of another. he moves like a deadly phantom, his footsteps light as a feather, whipping through the night like a bullet through a target’s skull. sartre claims that hell is other people. and if you were to stare into kaleb’s eyes—eyes eerily similar to having been cut from coal—you might just see hell and everyone in it staring right back at you. as nietzsche wrote: “ he who fights with monsters should be careful lest he thereby become a monster. and if thou gaze long into an abyss, the abyss will also gaze into thee. ”

random extras.

he has a lot of small scars over his body, most of which he can’t account for or has forgotten about.

owns and drives a black 1969 boss 429 mustang which he loves arguably more than he loves himself.

speaking of, he actually is full of self-hatred so don’t let the haughtiness fool you.

trusts nobody but himself and is loyal to nobody but himself.

has a lot of anger issues so often ends up taking part in underground fights.

he rates around a solid three on the kinsey scale.

is a distant person; closed-off emotionally and prefers to keep himself to himself.

when it comes to whether or not he is morally decent or an extremely bad person, he is somewhere in the middle of that spectrum.

he isn’t heartless but he isn’t exactly compassionate either.

kind of shady but knows how to pass himself as charming. 

has been thru sum shit n seen sum shit so he’s v messed up inside.

though he does have a soft spot for animals and children.

his marksmanship is impeccable.

he’s naturally gifted with firearms and his shot is always on point.

dark eyes and bruised knuckles are his ultimate aesthetic tbh.

actually really appreciates classical music, though he’ll never tell. blame it on his piano lessons from childhood.

speaking of piano, he’s low key gifted at playing although he rarely does these days.

has a very short fuse and can lose his temper quite easily.

he has a good heart and good intentions when it comes to those he actually cares about although he’ll never let this show.

favourite coping mechanism? isolation.

a bit of a lone wolf. he keeps people at arm’s length but acts in a way where people are under the illusion he’s their friend.

basically the tall, dark and handsome trope: ( most of the tall, dark and handsome men display aloof, cold and distant personality but they do have a gentle and caring side. )

is a little snarky and grumpy but if you manage to break this exterior, you’ll find he’s quite witty and easy going.

he got into fighting at a young age. it was the only way to try and learn how to defend himself against his father.

sleep?? he doesn’t know her.

tends to repress his emotions until he explodes.

healthy coping mechanisms?? he doesn’t know them either.

is prone to pushing the self destruct button.

you can find a pinterest board for him by clicking anywhere here.

[archiveddvrpg]

Congratulations, CLAUDIA! You’ve been accepted for the role of OTHELLO with a FC change to Chadwick Boseman. Admin Minnie: Claudia. Wow, Claudia. This application won me over. I got extremely excited in a matter of seconds just from your first paragraph alone — just ask the other admins, I can even send you a screenshot of my message: “ok i've read one paragraph and im in luv”. From your clean and precise analysis of his core (”learning that love and terror were not the antithesis of each other but an echo of the hunger that comes with being alive” YOU DID THAT) to the incredibly story you weaved in your para sample... you completely won me over. And so did your Othello. I cannot wait to see your plot points come to life, because I’m positive that you’re going to bring a storm to Verona. Please read over the checklist and send in your blog within 24 hours.

WELCOME TO THE MOB.

OUT OF CHARACTER

Alias | Claudia

Age | 23

Preferred Pronouns | She / Her

Activity Level | 7

Timezone | GMT+11

How did you find the rp? |  I’ve known about DiVerona for a while now but it’s been some time since I was active on the rpc scene. Stumbling upon it again after all this time and seeing Othello open feels a little like serendipity.

Current/Past RP Accounts |  Here and here.

IN CHARACTER

Character | Othello. And if I could please request a faceclaim change to Chadwick Boseman.

What drew you to this character? |

Othello is a study in dichotomies – a man torn between polar extremes. Between savagery and nobility, brutality and kindness, love and war.

His very existence was borne of a war waged between his mother’s warmth and his father’s cruelty. He grew up in a house that felt more like battlefield than home, learning that love and terror were not the antithesis of each other but an echo of the hunger that comes with being alive. He feels everything: deeply, intensely, like an open wound half-healed; it’s his greatest strength and it will be his ultimate downfall. Odin is a man capable of a vast and terrible rage. There’s brutality sunken deep in his marrow, something black and rotten in his birthright, an ancient violence. He feels it in his blood like a beast that’s slept dormant all these years, lying in wait, watchful, preying on his worst instincts. He hears it singing in his veins, can taste it climbing into his throat, when he sees a guilty man’s blood spilled on fresh dirt. He thinks he sees glimpses of his father in the mirror, sometimes, when his mind is adrift and steeped in shadow. His eyes, soulless and quiet, his knuckles blooming with bruises.

Suffice to say, I love this broken, conflicted, contradiction of a man. There’s nothing more compelling than a tragic hero and the thing about Othello is that he has every inkling in him of someone who could so easily be tipped over the edge into monster. I love that discrepancy, I live for that sliver of doubt, the seduction of l’appel du vide and the terrifying realisation that he has everything in him to slip beyond that edge.

What is a future plot idea you have in mind for the character? |

ONE MORE SUCH VICTORY WOULD UTTERLY UNDO ME  |  Odin has survived the maelstrom of scandal and ruin that would have meant a fall from grace and high standing, the destruction of all that he has built for himself. And in doing so, he’s lost the only thing he has every truly loved in this life: Delilah. All of the love and devotion and pleas for understanding could not deny the rage and ruthlessness that came with her infidelity. With the heartbreak of knowing the one person he’d let into the deepest parts of his soul, who’d seen him bare and unstripped of all artifice, had betrayed him. He’s burned all their bridges, performed triage to save his reputation and his pride, but what of the love that still sickens him when he thinks of her and how she’s suffering? He has set fire to all traces of her inside his heart but it isn’t so easy to burn her out of his mind or his dreams. These are the places where man has no dominion. And what of the peace he knows he will never find again without her by his side? What of the treacherous slivers of doubt beginning to eat away at him that till now, he has tried to kill and smother with green-eyed reason? He couldn’t possibly be wrong, could he? He couldn’t have abandoned his happiness and his honour with the one woman who has loved him for all his flaws and vices at the turn of a whispered deception?

AM I MY BROTHER’S KEEPER?  |  Ivan is the closest thing Odin has to family. To blood. Ivan has stood at his side through everything, his left-tenant, his confidante, his greatest source of comfort and familiarity. Call it a blind spot, a weakness, but Ivan has earned his faith and unquestioning trust. It was Ivan who came to him when he first heard of Delilah’s betrayal, and it was Ivan who gave him the strength to do what had to be done. But now he has lost his greatest love, and his brother seems more and more a stranger to him by the day. Ivan has always been smarter, sharper, hungrier, hiscunning forged out of necessity and survival. It is the flicker of doubt, the silhouette of something far more treacherous and unforgivable that stains his dreams like nightshade. He is not a man of halfway, or half-done. Odin absolutely cannot abide the grey area of hesitation. If there is more than speculation to the idea that Ivan has somehow exaggerated, or misconstrued Delilah’s transgression… There’s nothing more dangerous than a man who has nothing left to lose.

WHY ARE YOU FULL OF RAGE? BECAUSE YOU ARE FULL OF GRIEF  |  Despite his well-crafted attempts at appearing to the contrary, Odin walks a finely wired tightrope between chaos and control. His ego is bruised and battered, and his heart is worn thin with humiliation. He was once a man that wore the hearts of Verona’s people on his sleep. Now, a whisper follows him everywhere he goes. A whisper that becomes a murmur, rising and spilling into a crescendo of rumour and disgrace that hounds him day and night. Odin is quicker to anger, more belligerent and unruly, a humming drum beat of shame and dishonour ringing in his ears every time he turns away and pretends not to hear the outrageous lies they spin. And with his beloved gone, cast out of his heart and soul, there is so little left to keep his worst instincts at bay. All it would take is one bad day. One simple push is all it would take to plunge him down the path into darkness. A push, or a drip of well-timed poison in his ear.  

PROMETHEUS’ GAMBIT  |  Before Odin swore himself to the Capulets, he was a man of the people. A hero. A saviour. Someone who fought to protect those who could not protect themselves, who strove to uphold the law and to push for reform when, at times, it failed to protect Verona’s people. Why, then, would such a noble, virtuous man like Odin Bello, choose to fall in with the mob? Odin is idealistic, but pragmatic. War and injustice have taught him that the law is not enough. Verona runs on blood and money, and if that is what it takes to wield the power and influence in this city necessary to do genuine good, then so be it. Becoming a Captain of the Capulets was an act of necessity, and political savvy. He is a man of his word, and therefore loyal to their cause. But if there ever comes a day when he must choose between the Capulets and the life of an innocent, Odin’s sense of justice may cause him to waver.

Are you comfortable with killing off your character? |  Absolutely. Preferably in some manner of tragedy and disaster befitting the very embodiment of tragic irony.

IN DEPTH

In-Character Para Sample:

It is always the same dream.

The same endless plunge into nothingness, a black chasm void of any light or air or sound. It could be sinking, or rising, and Odin wouldn’t know the difference between the sky and the ground. Suffocating. Drowning. Either way, it is a slow, and terrible way to go.

The vice around his neck, coiling tight around his throat, tighter with every breath, crushing any frenzied hope of salvation. He scrabbles wildly at the noose (not a rope but smooth, sleek to the touch, and cold), knuckles paling with desperation as his lungs scream. He fights. But the end is always the same. The hand (when did the noose become so clearly defined? Are those fingers?) clenches around his throat, grinding down against his windpipe with unrelenting pressure. It metastasizes – liquefying with the metallic consistency of blood, or perhaps smoke, as it fills his mouth and his lungs and his chest, pouring into his ribcage and filling every fissure and crevice inside of him.

It tastes like death. It tastes like inevitability.

He drowns like this, suspended in time between shadow and purgatory, for what feels like an eternity. And then either his mind snaps, or the dream does, and he’s released, hurtling into reality with the speed of a sniper bullet.

—

He wakes like a dying man drawing his last, shuddering breath.

In his dream state, his sweat-streaked brow tightens with the anticipation of a brush of warm, soft lips. Ah. But she’s gone now, isn’t she? She is gone and he has carved her out of his chest like a pound of flesh he still holds clutched in his bloodied fist. The proof of her betrayal beating in his palm, visceral and raw as a slaughter.

Odin wakes from sleep every morning like he has survived a death. He moves as if his body is exhausted to find itself alive and begrudges him the audacity of enabling the very breath in his lungs. But years of military regimen has been beaten into him like sandstone worn smooth by a millennia of moon and tide. He drags himself out of bed, dresses, makes his bed squared with perfect angles, shaves, slips his gun out from beneath his pillow and into his holster. The barely risen sun casts everything in a dull tinge of faded indigo like day old bruising. He pads through the house, the hollow echo of his footsteps winding down and down the stairs.

A rap of knuckles upon his door splinters his reverie, his attention snaps to the entryway. Sharp. Alert.

It’s Katarina. She swirls through the door, out of uniform but armed to the teeth, gaze chilled as black ice.

“It’s the rat,” she hisses, eyes flashing like chips of steel in the dark.

The word has an affect akin to an electric shock: he’s awake.

“What did he do now?”

Katarina’s gaze narrows in disdain. “What rats are wont to do: lie and squirm and betray.”

“And what’s the word from Sloane? Rafaella?”

“Dispose and send in the cleaner.” Casual murder, discussed just like that. It’s not even seven in the morning yet, a time when normal, human citizens of Verona could be having their first cup of coffee.

“No use disposing of a rat if we can’t get something out of it first,” Odin deliberates. “Catch him for interrogation.”

Katarina snorts indelicately. “Shouldn’t be too hard, the way he’s been hitting The Dark Lady every night like the world is ending.”

The barest smirk toys at the corner of Odin’s mouth. “Maybe he’s not as stupid as we thought then.”

Those that lie to the Capulet Mob are usually exactly as slow-witted as they appear on the surface. Lying and betraying the Capulets is akin to signing one’s own death sentence in blood.

“Oh, I highly doubt that,” Katarina drawls, the syllables velveteen on her tongue.

“Tonight. Nine o’clock in The Orchid Room. You can handle getting him there on a work night?”

“Can I get a Veronesi police officer to slack and indulge their vices at a glorified whorehouse? Please.”

“Alright, then.” Odin gives a small nod, a subtle seal of approval.

“Well, I have to go see a gentleman about an exterminator.”

There is something to be admired in how efficiently a malvivente can get away with murder. The science and precision it takes to orchestrate a killing floor, a crime scene, a clean-up. In many ways, Cosimo Capulet is a virtuoso of his craft, if homicide could be considered an art.

“Have I mentioned how much I hate disappearing bodies from the precinct? Remind me to recommend that we accept external transfers only from now on.”

Katarina flicks him a smile sharp enough to cut through bone. “Here’s hoping third time’s a charm.”

––

The city is restless with fevered boredom. A sinister hush before a summer storm. Odin is alone on patrol this morning; Bellamy has begged off their shift with some falsified story about an elderly neighbour in crisis. In other words, a convincingly tedious tale to spin to cover the tracks of covert Montague business.

Odin doesn’t pry; there will be a time to play his cards and reveal his hand but today is not the day.

A crackling comes on over the radio, a standard 10-62 from dispatch. When he arrives on scene on the very outskirts of south Verona, it’s to an unsettling quiet. He steps out of the car, hand slipping cool over the grip of his gun. He heads round the back of the building, passing soundlessly down the winding cobblestone path that leads to the back entrance. His second cause for concern comes with his discovery that the door has been left unlocked. A push of the frame sends it swinging open. Odin’s hand flexes instinctively, curling tighter around his gun as he moves, barrel-first, into the house. With a slight exhale through his teeth, he raises his fist and hammers it into the peeling wood.

“Polizia,” he cries out. “Is anyone there?”

No answer.

No signs, even, of a breaking and entering.

He releases his fist, and heads cautiously on into the house. He clears one room after the other, swiftly and methodically, finding no signs of forced entry or illicit trespassing. The only remaining room left to scour is on the upper floor facing northward. Odin steps forward and reaches to open the door.

Of all the things Odin could have anticipated finding here, the rat they’ve have been hunting for over a week wouldn’t have made the list. But here, in the center of the room, sprawled on the floorboards like a tableau vivant, is Luca Salvatore. His nose and upper lip are smeared with quicksilver, and there’s powered gold, faintly gleaming, dusted around his collar. Ambrosia and il sangue di Faerie. An ironic harmony of Montague and Capulet – perhaps the only time the two sides have ever known true balance. How bittersweet, Odin muses as he lowers into a crouch to expect the body, he betrayed the Capulets and yet it is Montague poison that helped to seal his death. The foam gathered at the corner of Salvatore’s blue-tinged lips glimmers in the light, specks of chrome and liquid gold catching the sun seeping in from the window. Someone made damn sure they shoved enough fae blood and ambrosia down this man’s throat that he’d never live to draw another breath.

Odin sighs, a muscle tightening in his jaw as he pulls out his phone to send a message: Our rat’s been poisoned.

“Dispatch, 10-45D. I’ve got a body.”

Whatever secrets this man was harbouring, whatever danger or temptation drove him to fuck the Capulets, dying of borderline madness was a mercy.

Fool them once, they’ll kill you twice.

––

The night spirals on an endless loop at the The Dark Lady, time and space wrapped around a mobius strip of warped deception and illegality. The walls always look like freshly painted blood from the shadows of the lowlit stage. Unlike many of his fellow Capulets and officers – men are all the same, honourable or not, noble or not – Odin has never been seduced by the promise of The Dark Lady and her Sparrows. So long as his wife held his heart, he was hers in mind and body and endless soul.

Now, he is unchained. Adrift. But the thought of another woman, in her place, whispering the words she once whispered in his ear, physically sickens him. And perhaps it’s pathetic that the very idea of being unfaithful to his cheating ex-wife is anathema to him. Foolish, ignorant, blindly loyal Odin. That’s him. Besides, his purpose here tonight lies with business, not pleasure. If anyone knows who would have the most probable cause to poison their little rat, it’ll be the illustrious queen of the Sparrows. Of course, she’s kept him waiting. Her word and will is law within the dark walls of this establishment.

From his vantage point at the bar, he sees everything clearly through the haze of lust and debauchery. Men reduced to their base, animal selves, led by beautiful Sparrows with their fingers wrapped around their wallet. Gambling, prostitution, solicitation – technically, being here at all goes against the premise of his very existence as an officer of the law. The Dark Lady is one of the most profitable businesses on Capulet territory for good reason, however. Even if it weren’t for Odin’s interference, Mona has her hands in the pockets of every high-ranking officer within the police force. Or around their throats, with the numbers of untold secrets she has in her gilded arsenal.

He’s close to calling it a night and returning in the morning to reschedule when the piercing shatter of glass cuts through the music and hushed conversation.

“Jesus fuck, now look what you’ve done.”

A Sparrow, one of Mona’s girls, her long scarlet hair spilling loose down her shoulders, gives a soft yelp as she’s yanked from her position in a patron’s lap. Like the bird of her namesake with a broken wing, she’s tugged by the force of the man gripping at her wrist. Hard enough to bruise by the judgement of the man’s sheer height and build.

“Stupid little bitch,” the man hisses venomously, brushing furiously at his pants and the patch of wetness growing from spilled liquor staining the left leg. His grip on her tightens, the effect immediately visible from the lance of pain that flickers across her face, pointed and urgent.

The world goes very quiet, and very still. Odin tenses, every muscle in his body going rigid.

The walls here are red, the little Sparrow’s hair is red – vermillion, the colour of a sunset on fire, Bordeaux wine – and his vision bleeds red.

Odin moves without conscious thought: one moment he is at the bar, and the next his arm is slamming into the man’s gut, crushing the air from his lungs and forcing him to release the Sparrow out of shock. His hand, formed in a knuckled fist, fingers wrapped around thumb and the ring on his fourth finger that he keeps fucking forgetting to take off (or burn, or throw into the river, or melt down into scrap metal), swings forward in a brutal uppercut. It makes contact with a resounding snap of bone and cartilage, blood spraying forth in vivid, violent streaks of red.

“You crazy fucking bastard,” the man howls, staggering on his feet as his hands fly up to clutch at his face. “What the fuck is wrong with you?”

“There is one and only one rule in this club.” Odin widens his eyes a fraction. “Are you an idiot, or just in the mood to be skinned alive fully conscious?”

The man’s face twists into a snarling contempt. Naturally, he ignores the question entirely. “I know you,” he says, voice low and lascivious, swaying precariously on his feet. “You’re Odin Bello.”

Odin’s mouth flat lines, unimpressed by the drunken display before him.

“The man whose wife has fucked half the city.”

After, the reports will say that the man was found near dead: 6 broken ribs, dozens of broken, fractured bones, internal bleeding, contusions on his chest, arms and face, comatose.

After, they’ll say that Odin Bello lost his mind.

(Have you seen him? He doesn’t look like someone stable.

His wife was cheating on him for months with every member of his precinct, the poor fool. Who could blame him?

Bello’s insane. He’s completely lost it.

Did you hear the man he attacked is in a coma? Who knows, maybe he deserves it. Maybe he was asking for it.

I feel bad for the wife. Good thing she got out while she still could.)

––

After, Mona finds him in the alleyway with a cigarette dangling from his fingers, his hands and arms soaked in blood to the elbow. He smells like the inside of a slaughterhouse, and ash. She stalks over on stiletto heels sharpened to a knife point and slaps a black dossier against his chest. The Dark Lady’s insignia is debossed, an imprint, a shadow of an elegant swirling sigil.

“This isn’t a favour, Bello. I expect repayment in full, and then some.”

Her hand shoots out to grip him by the chin, manicured fingernails digging into his jawline as she drags his face down towards her eye line.

“You pull that shit in my club again and I’m blacklisting you for life.”

Odin shakes her hand free like her touch is nothing but air and straightens, presses the cigarette back to his lips and lets the smoke coil and spiral from his fingertips. Even the smoke tastes of something raw. Like fresh blood, metallic and veined with rust. There are flecks of it clinging to his cheekbones, splattered across his shirt like an abstract impressionist rendering of violence. The afterimage of it seared into the black and white negative of his silhouette. He looks like an old god, covered in the grime and filth of modernity. A bloodied relic of an ancient religion built on the altar of human sacrifice. He inhales, black smoke swirling in his lungs, the faint glow of eyes like ritual fire as he turns to face her.

“Do you think she knows?”

Bewilderment, then disgust as understanding dawns on Mona’s face. “How the fuck would I know, Bello?”

Odin watches her, unblinking, utterly motionless, his gaze deadened and hollowed like the heart of a black hole. A yawning abyss of unending nothingness with no horizon.

Am I only a monster if she knows what I’ve done?

Extras:

ORIGIN: Standing at 6’5” since he was 18 years old, Odin cuts a striking figure. His presence commands gravitas without him ever having to speak a word: a simple nod, a tilt of the chin. Soldiers fall silent when he speaks, higher-ranking officers defer to his cool judgement and lateral insight. He is a man born for leadership, marked for authority and the steady ascent to power. They say that those who deserve power do not want it, and in Odin’s case, at least to begin with, this is true. He enlisted at 18 to find an escape, a lifeline. A pathway to an existence free of his father and the brutal legacy he’d built for him — the only thing his father had ever given him other than his name. It was of little surprise that being primed and honed for war came easily to him. Odin rose swiftly through the ranks, impressing his superiors with his discipline, resolve and relentless potential. If anything, he was a little too disciplined, a little too resolute. Too intense and dead-eyed even when his fellow recruits were pushed to the brink of physical and mental collapse. Odin never seemed to tire, never seemed to even approach a tangible breaking point. He was utterly in his element: consistently ranking first in all his classes and dominating thr basic training activities with his physical advantages. But he was also charismatic, distinctly likeable, and always willing to help and shoulder someone else’s burden if he saw them struggling. As much as the other recruits would have preferred it, he was impossible to hate. At 24, he was promoted early to Lieutenant and led a squad of nine men who were willing to fight and die at his word. Out there, in the desert, they would have walked open-eyed into a minefield if he had given the order. Five years later, he was honourably discharged with the end of his tour. At least, that’s what his official military transcript says. What the transcript doesn’t say is that Odin Bello was diagnosed with post-traumatic stress disorder, chronic insomnia and major depressive disorder following his return. This will do you good, the Lieutenant Colonel had said. You’ve fought this war for long enough but now it’s time for you to go home, to find a little peace for yourself. He returned to the country, battle still burning in his blood and his head full of quiet demons, and immediately left in search of a place that did not feel like a graveyard. So he found, Verona, wartorn, streets red with blood, a monster lurking behind the face of every man, and felt for the first time in a very long time, at home.

HEART: Odin has a great love for animals and small children. When he was young, he would feed what little food he had to the local dogs and strays. They followed him around the streets like a loyal pack of guard dogs and one time even chased off a gang of older children harassing him for non-existent money. Odin was a single child but he often played with the other children in his town and helped to look after the youngest ones when needed. His heart is most visibly softest when he’s around children. To this day, he ensures that a significant portion of his pay – as a law enforcer and Capulet – goes to the local orphanage of Verona. He spends at least one day a week in his time off-duty feeding the stray creatures of Verona – be they beggars, street ruffians or stray dogs.

SOUL: It’s a hypocrisy of the highest order to be an officer of the law, and yet a Capulet. The Capulets are the source of half the rife and warfare in the city, the beating heart of the black market that funnels contraband and weaponry through the illicit networks of the underground. The Capulets liken their legacy to that of Robin Hood, a legendary tale of David defeating Goliath. Now, however, the Capulets are fat and glutted on their gold and wealth. Just as filthy rich and corrupted as the aristocrats they overthrew in the name of liberty and equality. Joining the Capulets was a means to an end for Odin, an opportunity to oversee the inner workings of the Capulet crime family, and to use it for his own quiet purposes. A thief that slipped away with the life savings of a dozen families he swindled could be dealt with in shadow and silence. A rapist plaguing the city with no proof to his accusations but the blood and tears of his victims could be found dead in the morning, his throat slit in retribution. A murderer could be caught, and punishment dealt in a manner befitting his crime, not by the corrupt, unjust systems of the court. It does not sit entirely well with the balance of Odin Bello’s soul, that he works for the Capulets and paints his hands in blood for them. But as long as the good he can do outweighs the evil, then he is willing to stretch his soul a little thinner in the name of what must be done.

HAMARTIA: Odin does not do anything in halves. It’s all or nothing with him. He loved his mother with all his heart, and he hates his father with the very same heart. He has never known a middle ground. The love he knows is a double-edged sword – all-consuming, and therefore, destructive. For Odin, there is no other way to love than to give everything of himself until here is nothing left. Even if it means his ruin. He gave everything to Delilah when he swore himself to her – his heart, his name, his soul, his life. He would have ridden into hell for her and beyond, if she had asked. He would have plucked the moon from the sky and given her the stars to light her smile, if she had asked. At the time of her betrayal, he had believe his rage equal to his love. Burning like wildfire from inside of him until it consumed all the good and warmth he had associated with loving her. Grief, he has since realised, outlasts rage. He placed Delilah on a pedestal and made her his god. Casting her out of Eden meant leaving behind a hollowness nothing else could fill. So he clings to the only other person who has ever worn the shape of love in his life – his comrade-in-arms, his brother, Ivan. Ivan, who has never abandoned him or given him cause for pain or doubt. Ivan, who has always understood his rage and darkness, and stands by him in the light nevertheless.

[anony-mouse-writer]

so im currently fandom hopping, and its hard not to draw parallels between loki and a certain sannin. less because of their goals and more how they are treated in their respective cultures. which then spiraled into a weirder place and several plot bunnies, but one in particular caught my interest:

What if asgard was part of a ninja village?

[[MORE]]

glory and honor might matter a bit less and cunning and skill a bit more, but this is a world where everyone knowing your name makes you a good ninja, so lets pretend that thor is still the favored child here and that asgard is more like the hyuga clan in terms of structural favoritism.

loki, in this little au of mine, actually is blood related to the odinsons, but what he doesn't know is that it is diluted. he is, in fact, a bastard child, and one who's kekkei genkai is all the weaker for it. of course, he doesn't know this, so as far as he's aware, he's just got this shitty bloodline limit cuz life is a bitch like that (and if the nastier members of the clan are to be believed, because he's a weak and u deserving child)

(dont ask me what the kekkei genkai is, idk. something high powered and attack oriented, maybe a ninjustu-type because asgardians are nothing if not powerhouses)

of course, loki more than makes up for his lack of skill with the family speciality with an almost nara-like cunning (insert joke here about 'if i was going to be from any other clan, i thought it would have at least been nara' here) and enough concentrated rage to make him a deadlier shinobi than his (half) brother, but the odinsons/asgardians being what they are, it doesn't matter.

loki's secret parentage is from another village altogether, and not even a friendly one at that. (maybe kiri? because ice? i dont know)

thor - lightning nature, wields a war hammer that seems almost hilariously unshinobi like, but it works for him

loki - water nature, slippery as a certain serpant, and with the same penchant for amorality in the face of what he wants. the water nature is surprising given his family's affinity for more offensive elements, but thats just one of those things that makes more sense when he learns his heritage

frigga - she loves loki, she really does, but she can't show favoritism or step out of line as she's on thin ice already (pun not intended). she wasnt executed or banned from the clan because something-something politics, something-something most powerful kekkei genkai in the clan out of the main branch bloodline

odin - look, he's really glad that his clan has all these impressive ninja, but one of them is a) proof of his wife's infidelity and more importantly, b) shit at the kekki genkai he still should have inherited from her (that clashes quite horribly with the chakra affinity he got from that man) and he really cant get over that

(also, in this au, the warriors three are the genin team from hell and their jonin sensei would trade them for any other team in the whole damn village please for the love of kami pretty please someone take them away from me before i have to go missing-nin for killing three genin)

[nctsukashii-archive-blog]

Most disliked arc (chapter)? Why?

The saltiest cracker you know is me, Bepsi!10. Most disliked arc (in this case, chapter)? Why? 

I bet you saw this shit comin a mile away huh?

Chapter 2.

Now, it might surprise you, but Hoshi dying isn’t even the worst part of the chapter for me. That’s more emotionally gut punching me and my hopes and dreams that joke characters can live past chapter 3. Actually, Hoshi is without a doubt the BEST part of Chapter 2 even with his death, just because of how amazingly he’s written. 

Sadly, even Hoshi cannot save this chapter from showing just how RUSHED and UNPOLISHED it is. Because holy jeEZ THERE’S A LOT WRONG (albeit it’s personal opinion for the most part). So while you may know them, or may learn something new from my opinion, that’s all cool! Under the cut as Chapter 2 is dissected and torn into to learn why it is sadly, my least fav of V3.

- RUSHED.

Now, this is really easy to see, and I’m sure many others have noticed it as well, but it bears a lot of repeating because it’s a problem. Chapter 2 was rushed to high heavens, in the sense that it mainly serves to push the plot along and nothing more. Things happen too quickly in the story at that point, and while the rest of the game is better off for it, this is the ONLY chapter that REALLY does it so blatantly, and it feels very choking as a result of it.- Tenko’s attachment to Himiko needed to happen, absolutely, but I feel like more should have been done in Chapter 1 to show Tenko trying to talk to her more? Maybe, “OOO maybe himiko wants to be my friend??” and more interactions that show that Tenko isn’t just attaching herself to Himiko b/c she’s “the creepy gay” character. - Toujou becoming the fucking supermaid. This one is the most obvious, but mmm. Everyone relying on her suddenly feels super forced, as characters like Shinguuji and Hoshi and even Maki herself, all ask Toujou to do something for them. It feels out of character for them, and the fact that THAT interaction is the MOST she gets in Chapter 2 before the trial is fucking trash and I’ll explain why in a later point, but you can just TELL that they needed SOMETHING to give her ANY story relevance, and it hurts her character a LOT. - Kaito suddenly wanting to help Maki’s super fucking weird. Maybe if it showed Kaito like “sorry Shuichi maybe later, I wanna try talking to Maki” more in this Chapter to really see that he wants to help her, or even just him going more like “hey Shuichi wanna include Maki in our training? I feel like she could use it.” or ANYTHING that mentions Kaito reaching out to Maki more. Because as it is now, it feels like he’s suddenly placing an all or nothing bet and it makes him, p unlikable at that point b/c Shuichi just goes with it for seemingly no reason because “yeah I guess i gotta progress the plot”. - Those are the main points. Maki is done surprisingly well, actually, she’s really good here. Being sus like that and actually not letting you do FTE’s was cool, and i liked it a lot. Angie’s slow buildup was also pretty good as well, but I think they coulda put Tsumugi in w/ Himiko at some point so it’s not ‘suddenly everyone’s brainwashed!’ in chapter 3, as a slower buildup would do it good! Or at least, more buildup, I should say.

- CLUNKY.

This one is a bit harder to explain, and it goes in hand with the pacing issue, but lemme try. Some of the events and dialogue in Chapter 2 just feel, really clunky? Like, Shuichi’s an emotional guy and I totally understand that, but I don’t think he’d just spill his feelings to the guy that punched him for showing weakness not even 2 days ago? I dunno, maybe it’s just me. It feels like a lot of Chapter 2 was glued into the story as requirements rather than actually to tell a story. It comes in a lot of ways, as previously mentioned a lot of relationships are just ‘suddenly there’ rather than actually built up, IE Kaito and Maki, Tenko and Himiko, etc... and it makes the entire Chapter feel like it’s meshed together with ideas that Kodaka REALLY wanted to be in the game or knew would happen later on, but just couldn’t fit them in, so he shoved them in an early chapter and hoped for the best.

- TOUJOU’S ABILITY TO DO JACK DIDDLY SHIT IN TERMS OF STORY.

Somehow, they managed to make one of the stars of this chapter barely active in it. Can you fucking believe that? Like, no really, if you work off of fan translations I want you to open the translation you have, hit CONTROL+F and search for Toujou and see like, the 30 lines she has before the trial. It’s so MINIMAL, it’s so BASIC, and in those 30 sentences she’s treated like a PLOT DEVICE rather than a CHARACTER. I’m sure a bit of the reason as to why Toujou isn’t as popular as most of the other girls is just how hard the Chapter hits her in terms of not giving her any character development (even in the bonus interaction she’s just “i do this for my job” for fucc sake). Like, even if it was played for a laugh that she’s just so constantly work-focused, or the writing took it as a bit of a punchline for some dry humor (”hey toujou what’re ya doin?” “working.” and just have awkward eye contact and the ‘WOW this is awkward’ thought in Shuichi’s head after a few “...” between the both of them as it happens. easy comedy. see???) it at least would make her seem somewhat important compared to the cast. Honestly, it’s like the Tsumugi Effect but in 2 chapters instead of 6. By doing nothing in terms of plot, she basically puts on this huge fucking sign that says “HEY GUYS IM NOT STORY RELEVANT BECAUSE NOTHING IS HAPPENING TO ME SO I WILL PROBABLY DIE AS A KILLER OR VICTIM” Her trial behavior is really hit or miss as well, because some might find her ruthlessness to be really cool and makes her actually fucking interesting at any point in the story, while others might find it unlikable, excessively cruel, or just out of character for Toujou no matter how desperate she may be. Let alone that her US demographic prolly tanked quite a lot w/ her story focusing on POLITICS of all things (one of the three no-no’s in any conversation), making her very very hard to like, besides on an aesthetic level. Let alone her FTE’s are the worst in the game, as you still barely learn anything about her outside of “im a maid and im good at my job” or other points that the main story already tells you (besides that she once coddled a man so hard he became dependent and that her only weakness is not cutting konjac right ever). It just makes her feel like a barren and incomplete character.

- TOUJOU’S ABILITY TO DO EVERYTHING SO WELL SHE CAN EVEN FUCK HERSELF OVER AMAZINGLY.

Everyone has heard me go on and on about this, but if it doesn’t get said no one will know it so I keep repeating it until the end of time.By making her plan so complex, she basically fucks herself. By making a crime that only someone as competent as her could accomplish, it fucks her because only she can do it. XD. Literally, who do you think would have been able to do all that shit in one night? Saihara’s too weak to drown Hoshi. Don’t fight me on this, because if you seriously believe the detective in training with little self defense training (he worked on infidelity and missing pet/kid cases for fuck sake, his life isn’t really on the line all that often so he prolly wouldn’t know or have to train all that much to protect himself) can take the tennis player that killed over 200 people and has been playing tennis basically all his life (enough to go INTERNATIONAL in MIDDLE SCHOOL) in a fight, we’re gunna need to have a talk.Gonta’s too heavy to use the ropeway.Kiibo’s too heavy to use the ropeway and too weak to carry Hoshi’s body.Himiko’s too weak to drown someone and attempt to shove them in the staircase (which I will touch on real soon here on why even attempting to frame her the way Toujou tried to was dumb as shit).Angie’s... lbr here, prolly missing a few too many tools in her toolbox to really think of a ropeway to kill Hoshi with.Shinguuji’s too weak (and before I get arguments on this, if u think this underweight twig of a man can take out Hoshi when Hoshi’s prolly faster than him and could just run ur wrong)Maki who was the Child Caregiver at the time would be seen as too weak to do anything to Hoshi too (even if she lifts kids, again, Hoshi is fucking rIPPED and has killer legs)Ouma’s too weak (i mean he’s underweight and looks like a twig)Kaito’s a fucking moron when it comes to master plans and wouldn’t have been able to plain something like a ropeway murder (let alone his idol complex wouldn’t have let him kill Hoshi most likely... unless it was a Mondo situation but that’s a later talk)Tenko’s also a fucking moron when it comes to long term planning let alone she wouldn’t touch a man unless to flip him to death, which makes the ropeway seem almost pointlessTsumugi’s too weak to (i mean... rlly. u rlly think she could take him down? under the assumption she isn’t the mastermind ofc at this point in the story, but even then sneak murdering all the kills seems kinda.... eh? too hard for her to do.) Miu’s also a fucking moron that wouldn’t think of using a ropeway (actually, she prolly woulda done the smarter option and just pushed Hoshi’s body out his fucking window since a ropeway would be too much effort)By process of COMMON SENSE, only Toujou would make something so NEEDLESSLY COMPLICATED in an attempt to murder a guy. 

- THE DUMBEST PLAN ON EARTH AND HOW YOU COULD PLAN A SIMILAR MURDER AND GET AWAY WITH IT EASY. 

Toujou’s plan is fucking dumb when you can think of SO many other ways to get Hoshi killed with more leeway as to who coulda done it. So I bring up the window in his lab, because literally you could just push him out of it and the fall would prolly splatter that midget cunt on the ground no problem. Hell, even handcuff him. Nearly anyone could have pushed Hoshi out of the window, meaning there’s a possibility that Maki or Kaito could have done it w/o that stupid fucking ropeway let alone anyone at night (or hell even during the DAY since time of death was obscured), and it wouldn’t LEAVE THE FUCKING GLOVE.MMMM OKAY RANT HERE REAL QUICK I MEAN IT THAT FUCKING TRASH BAG GLOVE IRRITATES ME. Like, hhh I know Kodaka wanted to make a case where something like the glove gets the killer caught, but HOLY SHIT was it poor to use in a case like this. It not only feels like it’s out of place for her not to just get it in the morning, but why the fuck would she use her gloves anyways?? Why not use Hoshi’s hat? Anyone could use Hoshi’s hat as hand protection down the moronic ropeway and since it’s a beanie it’s prolly made of more strong material than I guess whatever her shit gloves are made of, since they tore like fuckin trash when she went down the ropeway. As someone that wears cut and heat protection gloves because of my job, the gloves she uses are HORRIBLY inefficient (let alone if she’s cleaning before touching food w/ them on... like please don’t that can cause so many health problems) to try and stop ropeburn. She could have also just poisoned everyone, or killed them all in their sleep, to make her job easier on herself. Can’t have a trial if no one’s there after all right? No one would suspect Toujou working on her fuckin job to come and snap their necks during the night or w/e, or poison their food before the show. But also framing Himiko is really fucking dumb. Like, she expects me to believe that Himiko, who is only 2 more pounds than Hoshi mind you, managed to drown him and stuff him in that staircase, and pull him out during the show in under a minute. LOL no. Hoshi looks like he can break her arms like fucking toothpicks without even trying?? Let alone her laziness makes it look REALLY hard for her to have planned a fucking murder. The fact that like, the first hour of the trial wants me to believe Himiko could be the killer is asinine, just because of how basically fucking illogical it is.What Toujou could have done instead, was leave his body drowned in the sink. Yeah, it’d be harder because not everyone can drown Hoshi (ie. Himiko and Ouma and prolly a few others that are considered sticks or weak), but there are a lot of people who could, and drowning someone is a lot easier than the stupid ropeway piranha bullshit. OR PUSH HIM OUT HIS WINDOW. JUST KILL EVERYONE THAT WAY COME ON.Actually, she coulda killed two people easy. Just have someone gullible like Saihara come to meet her at night in the lab after she’s already pushed Hoshi out the window (or even just come running to his room with a bullshit excuse that she saw a shadow ‘running away’ and saw that something happened in the tennis lab) and push him out the window too. Boom, makes it look like a murder gone wrong, and the only alibi that’d be able to testify about the events is hers. Easy win, everyone else gets executed.I get it, in the end, it needs to be a solvable mystery in a mystery game, but it ends up making Toujou look like a complete moron as a result of it, which is unfortunate.

- MOTIVE VIDEOS ARE RIGGED AS SHIT.

Upon learning what hers and Hoshi’s are, it seems almost rigged that they would have to be the killer and victim respectively. Hoshi’s telling him to ‘kys’ and Toujou’s saying ‘lol go kill someone’ makes it like... even if everyone else saw theirs that they’d be like.. the only two to really act on theirs besides MAYBE Miu or POSSIBLY Angie. And then we also see Ouma’s?? And his is just actively “lol u don’t kill bitch but u should do it anyways” making it seem almost counter productive. Like, bitch it just said Ouma made a rule that no killing was a thing and u genuinely expect his ass to break that? ha. The odds were stacked against the two of them, which makes it only seem more forced in the long run. Which is great from a meta standpoint, but a story can be meta while still being fun, enjoyable, and flowing functionally and logically. Which this chapter isn’t really.

- THE SADLY NOT REDEEMING BUT STILL SUPER GOOD HOSHI FACTOR.

Now, the one thing that I can praise this chapter for really well despite all its shortcomings is Hoshi’s characterization and his story. For one chapter he really makes a hard hit at the time, and it’s easy to become engrossed in his little background story about him wanting to find a reason to live. The real cherry on top is his writing and his interactions with the few people he interacts with. with Kaito, it really shows the disposition that Kaito has against him and just how Hoshi is so understanding of others and like... nice. Even when he wants a goal that goes against everyone, he still respects them. “I won’t do something reckless to endanger everyone.”, and acknowledging that it’s an entirely selfish reason why he wants to find the videos and will still not hurt anyone to do it. He may have threatened to show Maki’s video to everyone in exchange for his own from her, but he never hits her or directly harms / threatens her w/ violence or anything extremely dirty. It’s respectable. Ohhh, and Saihara’s dynamic with him is just so sPOT ON HERE. Between the great advice and compliments in general he has for Saihara such as “the world can be bright for someone that’s looked down for so long, be careful” and “you’re confident compared to before, like a weight is lifted off your back. it’s a good look for you” and other such flattery, to Hoshi being a bit more open to Saihara about his feelings (feeling jealous about everyone else having a reason to live, wanting to find one himself, openly admitting he feels he has no purpose in his life and wants to find a reason to be happy like everyone else, etc.). But this dynamic goes both ways, as Saihara also can read Hoshi super fucking well. Like, seeing the Tennis Lab is a great example of it. When Hoshi states the past is behind him, Saihara thinks to himself ‘but then why are you looking at the court with such sad eyes Hoshi-kun?’ and it’s like, just really nice that Saihara’s not dense? Like, Hoshi expresses himself pretty poetically, with the way he talks and whatnot, acting like a wise sage type w/ endless wisdom all the time, so Saihara being able to read past all the flowery language to just hear “god i miss tennis” or “im depressed” is really REALLY refreshing, and a nice balance to see. If you do Hoshi’s FTE’s it personally makes it even better, but that’s not a requirement so moving on. Even just Saihara asking him things like “are you doing well?” or “Is this what you want?” or “or just the small but surprisingly deep talks they just seem to have with one another are tiny details that really complete the dynamic that they can both read each other and can react to one another super well. It feels balanced between the both of them, even in Chapter 1, and it’s a shame Hoshi had to die because I would have LOVED to see how far it could go and how much it could have been expanded on in the later chapters. 

Sadly however, no matter how great Hoshi is, it can’t save Chappie 2 from it’s endless faults and gripes that I have with it, that ultimately make the story less entertaining as a result.

[gothempatha]

#GOTHEMPATH   /   INDEPENDENT   ,   SELECTIVE   ,   PRIMARILY   FRIENDS   ONLY   STUDY OF   DETECTIVE   ALEKSANDR   NOVAK   CONDUCTED   BY   MOOMIN   /   CAREBEAR   (   HE   +   THEY   ).  

REGARDING   :   pushing yourself to your limits   ,   homesickness   ,   a strange feeling of being watched   ,   being underestimated   ,   and learning how to love and care for yourself.

RULES   +   ABOUT   UNDER   THE   CUT .

NAME   :   aleksandr serafin novak AGE   :   early 20s. OCCUPATION   :   college student   ,   honorary detective with the gotham city police department. VIRTUE   :   selfless   ,   determined   ,   will throw himself into danger to save others   ,   intelligent   ,   empathetic   ,   understanding   ,   adaptable VICE   :   impulsive   ,   self - sacrificial   ,   stupid   ,   paranoid   ,   volatile   ,   emotionally repressed   ,   easily stressed out   ,   talks way more than he should   ,   physically weak TRIVIA   : tba. SKILLSET   :    bolded = trained and often used   ,   italics = under certain circumstances   ,   plain = average control of the ability

eidetic memory

empathy

psychometry 

retrocognition

precognition 

levitation   

astral projection

remote viewing

mediumship

telepathy  

mild telekinesis

CONNECTIONS   : tba.

you can find a more detailed thing of my rules on my rules page for my main blog   ,   massoccurs   (   note   :   asks and such will come from there   )   but here are my basics   :

just be cool. no godmodding   ,   no metagaming. literally just don’t be shitty.

i don’t write romanticized infidelity plots. i am highly selective with ana de armas as an fc for strictly personal reasons.

multiverse   ,   multiship. multi everything. i’m generally very go with the flow. aleksandr is a gay transman and will not be shipped with women romantically   ,   but he does love and admire them so please throw all lovely ladies his way for appreciation!

yes   ,   aleks is a dc oc. no   ,   i’m not totally caught up with comics. be patient with me   ,   please and thank you/

my name is moomin / carebear   ,   im 20   ,   im pagan and bad at describing myself but hi <3 psds in use on this blog are by yellowhelper and kurocommision.

[freedomscall-aa]

General Information

Hi, call me Autumn. I’m 25+, have been rping for 15+ years on and off with 10 years experience roleplaying on Tumblr, and prefer they/them or she/her pronouns. I have a discord that is available on request for general ooc conversation and plotting, all you have to do is ask for it.

I’ve been diagnosed with generalized anxiety disorder and a chronic social phobia, so typically I’m pretty shy and awkward starting off when you first talk to me. Due to my mental illness I get stressed out pretty easily over things and at times will take a while to get around to replies and starters, so please don’t think that any slowness on my part means that I’m not interested in interacting with you!

Just because it needs to be said, Mun =/= Muse ; Muse =/= Mun. I play a character who is pretty moralistically grey and may do or hint at doing problematic things at times. This does NOT mean I support those same viewpoints. 

Anders is a super complex character who’s actions ultimately result in something so powerful they send a good chunk of the world into turmoil. I want to stress that Anders’ plot to blow up the Kirkwall Chantry was a terrible thing done by a person who felt as though they had no other option when every other peaceful measure he attempted failed. Could there have been other ways of solving the problem? Maybe. Did anyone actually listen? No. Regardless it was the only a matter of time before the powder keg that was Kirkwall’s tensions between Mages and Templars blew up given that you find out in the final act that Meredith had already written to the Divine to request permission to enact the Right of Annulment in advanced.

Either way, I’ve adore Anders as a character ever since DAO Awakening so whatever hate or arguments you might see fit to send me isn’t going to change my mind on how I feel about him. Naturally I’m fine with him suffering people’s vitriol in character, but I won’t tolerate receiving that kind of behavior out of character.

I generally use Pearl from Steven Universe as an out of character face claim. I’ll be using Toby Regbo from his appearance in Reign as Ander’s IRL FC.

On Following

I’m usually too nervous to follow people first, due to anxiety issues, but if I do follow you first it means I definitely want to try writing with you! Usually I’ll follow back Dragon Age canons unless something about your blog turns me off for some reason. Anyways, the same typically goes for OCs with reasonable Dragon Age verses that I feel could allow for interactions with Anders.

I’m going to be more picky about non-DA canons ( unless I already have an AU for their source material ), even if they have an DA themed verse or two– so please don’t feel bad if I don’t end up following you back. :c

Threads and Replies

On average I write anywhere between one and a half to two paragraphs per reply, though I have been known to write four+ depending on how inspired I am. If this for some reason bothers you or if you’re simply looking for super casual, one line replies with or without dialog every thread, I’d advise you not to follow me.

That IS NOT to say that I’m against short replies though! I can usually work well with two or three sentences so long as I feel like I can actually reply to it and in cases where I can’t, I usually ask my partners to add more if possible instead of outright dropping the thread. TBH, I just feel like it’s super discouraging to write a paragraph or two and only get a single sentence with or without dialog back in return. :c

I am notoriously slow when it comes to replies and am prone to dropping threads once I feel too overwhelmed. If you suspect that I’ve dropped your thread and would like to continue it, feel free to contact me over my inbox / tumblr im or via skype / discord if you have it.

If I follow you first or follow back, feel free to reply to any of my opens and memes I reblog or contact me via my inbox / tumblr im if you have any ideas, but please note that my ‘like for starter’ posts are for mutuals only.

Feel more than welcome to reply to asks and continue the conversation if you like what I answered with, I only ask that in doing so you start a new thread with a link back to the original ask and not reblog the ask itself.

I don’t care if you use icons or not. Sometimes I don’t. Icons aren’t an indicator of quality to me. Typically icons will accompany most short posts given I have one that fits the thread. It is possible that I will avoid attaching icons to longer, multi para threads depending on how I feel.

NSFW Threads

Both mun and muse are over the age of 18, which leaves everything open to possible NSFW sexually based threads. Personally, I like writing smut, but I prefer to ship chemistry more than anything and will not do pointless nsfw threads unless I’ve rp’d and spoken with you ooc for a while.

I WILL NOT write sexually themed or exceedingly violent / gore-y threads with individuals under the age of 18. I’m generally not going to follow anyone younger than 18 just because I don’t really feel comfortable with following those who are more than ten years younger than me even on my personal blog. I check for ages and if I find out you’ve lied just to write smut at any point I will not hesitate to block you.

Relationships / Shipping

I’m generally open to the idea of pre-established original character relationships (semi or whole friendships / crushes / enemies / etc) between characters as they can make interactions considerably easier for me, so feel free to present any ideas if you’d also like to go that route via my inbox / tumblr im or skype / discord if you have it!

If you want to go the route of an established OC relationship outside of an obvious casual connection, please be aware that I will ask you to dm me via tumblr im or discord, since I find it easier to develop relationships with other characters while having a chance to occasionally talk ooc with those involved. As a plus, it makes rp'ing with you much more comfortable for me.

I mostly ship Anders with M!Hawke and F!Hawke, but am open to other canon characters as well so long as it’s workable. Obviously, I’m also willing to develop romantic ships with OCs granted I find them interesting and if I feel like there’s good chemistry! You also get big bonus points if you’re a rivalmance Hawke because I’m super weak for that dysfunctional shit.

Triggers

This blog is generally not safe for work, just to be clear. There are times where it may contain triggers that I will try my best to tag in a coherent manner, but please be aware that I will not always tag things unless a mutual requires it their ooc page. I by default tag anything related to NSFW situations, anything related to abusive scenario, and anything else involving blood.

I have no triggers, personally, but I do have things that make me uncomfortable. These include topics related to cheating / infidelity and hypersexualizations. I would appreciate if partners would consider tagging content related to these, but it’s not necessary.

[bartsugsy]

Is it just me or is anyone else so offended by Rebecca's character because she is such a pale shadow of female representation? I'm outraged that in the 21st century a woman can be not even a set of character traits, but literally a walking (nice dressed) uterus who bends in the wind. No agency whatsoever. Deplorable! Rebecca makes me miss the 90s and the riot grrrl movement. She makes me want to daub myself in blood and put on a baby doll dress and scream into the abyss. What were they thinking?

ah anon, you know i can’tresist a good rebecca ask. it’s my weakness.

and like... you’re really not wrong.

i mean, i don’t know if it offends me - well, yes, it does, buti think rebecca was brought in for a few specific narrative purposes and iguess that’s ok in and of itself, but they’ve never fleshed her out into muchof a real character beyond those purposes so she exists in her currentiteration as a supporting character and they don’t seem to have any desire tochange that. which. just makes it uncomfortable, the more you think about it. andapparently I’ve thought about it a bunch.

i think the other thing is… those narrative purposes she has aremostly related to male characters. they’ve fleshed this out a little but mostlyshe’s been fairly irrelevant to every storyline - except one. there is onestoryline in which she is completely necessary in her function and it is clearly entirely the reason why she was brought in in the first place.

what i’m saying is that rebecca white literally exists todevelop robert sugden as a character and prop up his relationship with aaron.

(you could maybe argue that she is important to the whitestorylines but those have had very little long term affects beyond the waysthat link robert to the whites. i want to go into this more but i need toactually rewatch her white storyline stuff first, so maybe i’ll change my mind,but tbh it feels more like… her relationship with her family is a by-product ofbringing her in for her main purpose of affecting robert and robron. again,that’s for another post)

but that in turn leads to her being written like an inconsistentplot device. i think i’ve sort of developed enough of a fanwanky reasoningbehind her actions so far, but it doesn’t work as well as i’d like. it doesessentially boil down to her being in love with robert, though - she’s, ithink, actually a very tragic character and i have a lot of sympathy for her -but it takes a hell of a lot of mental gymnastics constantly to bring me backto that place, because the show doesn’t care enough to do it for us. and it’sannoying. because i do think they could make her story so compelling if theywanted to.

but ultimately they wouldn’t, because robert is in many ways avillain in her story and the story they want to tell is more robert being avillain in his own story (and again, that’s another post all on its own).they’re not telling rebecca’s story. not at all.

anyway! basically. female character essentially being the toolthe show uses to explore male character robert and his relationships. great. gr e a t.

and because what’s the point in making big sweeping contentiousstatements if you can’t back them up:

so the big thing the show has tried to drill into our headsrepeatedly is that robert was with chrissie for her money and her power,largely. he loved her in his own way, but he loved himself way more. he flirtedhis way up the company through lawrence, exploiting lawrence’s complicatedfeelings about his own sexuality and attraction to robert (see: the iconicscene close to the beginning of ryan!robert’s introduction where he saysexactly that to larry and suddenly we are given a window into why exactlylawrence hates robert so vehemently, to the point of faking a heart attack tostop his first attempt to marry chrissie). saw an opening and got with chrissieand then rebecca and then eventually chose chrissie, who undoubtedly has moreof a pull in the running of the company and more access to the money, as opposedto free-spirited rebecca, who we’ve seen is not at all competent at working inthe business and has very little overall experience with it.

we see robert repeatedly reaping the benefits of the whites’money and power - and the position that we know he is in fact very good at,thereby earning his own money on top of that (but again - in a position hefasttracked his way to via chrissie and lawrence).

anyways (you already know this is gonna be long af bc look howmuch im rambling) we see, particularly in the argument after chrissie finds outabout the home farm robbery and his reaction to almost dropping the cheque shegives him - and really everything robert does in that break up with chrissie,when he’s desperate to get his old life back, that robert ultimately cares moreabout the money than he does about his wife.

fast forward to robert post-coma, post-redemption arc and nowfully committed to being in a relationship with aaron. he still loves money andfights hard to make as much of it as possible, usually still somehow at theexpense of the whites, but we as an audience don’t have any solid proof thatrobert really cares more about aaron than he does about his og love, money.

we’ll come back to this in asecond, but the other thing we see in robert’s relationship with chrissie isthat he never exactly had any compunction to remain faithful to her. he says to aaronearly on (in the barn) that he has had a bunch of one night stands, but neveranything beyond that, which is the first indication to the audience that somehowaaron is different for robert. we later learn that he did in fact also sleepwith rebecca multiple times. according to robert, it was all before he andchrissie got serious, whatever that means in rob’s mind , at which pointhe stopped, although we also know that he and rebecca had sex at rob andchrissie’s engagement party (side note, my best guess - that was the last time they slepttogether and also when he knocked her up the first time).

anyways, outside of rebecca and later, aaron, robert had alsohad a bunch of one night stands and just… generally couldn’t keep it in hispants.

again, robert and aaron later become a real couple, long afterhe and chrissie are over for the last time and robert doesn’t seem to beinterested in anyone else (at all, he basically puts his life on hold tosupport aaron throughout the first part of 2016). but - equally, he’s never putin a situation where he’s had the chance.

bringing this back to rebecca - one of the first things she doesis show that she is working with robert to take down chrissie - she’s angry atchrissie for not telling her about lawrence getting shot, or anything that’sbeen going on (and - it’s chrissie that she wants to hurt, not larry or lucky,so we’re once again treated to two girls treating each other like shit for abit, joy of joys) and she wants to help robert get chrissie her comeuppance andalso protect her inheritance. robert brought her in and robert is the onlycharacter she’s not lying to, when she first comes to the village. her sceneswith her family all have the undertone of the fact that she is doing thisbecause robert convinced her to - it’s all about robert’s revenge, narrativelyspeaking.

to bring back my earlier points about robert’s love of money andinfidelity, a lot of her early scenes exist to set the stage for robertproposing in ssw and to show the audience that rob has, in fact, changed - sheoffers him all of home farm, all of that power back, and he says no. she triesto sleep with him repeatedly and he turns her down again and again.

and this pattern continues - she keeps pushing him and he flirtsback, kisses her even - his stupid way of keeping her inside so that they caneventually clear andy’s name, as he says to her when he finally shuts her downonce and for all outside the courthouse. the lines he says to her repeatedlyare things about how important aaron is to him - the show starts to build upthis picture that aaron is special to robert, but also robert is still hisrobert sugden-y self and isn’t above doing stupid things or pushing his stupidplans too far in order to get his way.

like. god i’m not going to list them all THIS IS LONG AND EXTRA TM ENOUGH but there are literallygifsets that exist of all the ways robert proclaims his love for aaron torebecca. so much of their scenes are used to both strengthen our knowledge ofhow much robert loves aaron and also to sow those seeds that robert does stupidand reckless things at the expense of that relationship sometimes - that heloves aaron but he sure as hell also loves money too.

but - again - in the narrative, we’ve been shown repeatedly thatwhen push comes to shove, robert always chooses aaron, that he doesn’t have anydesire to be unfaithful to aaron and he won’t choose money over hisrelationship. even when he was unfaithful, it was basically the product of an emotional breakdown as opposed to his apparent motivation of eh this person is hot and i’m bored why not when he was with chrissie.

and rebecca is the tool that leads the show to show us that so so often.similarly, rebecca is the catalyst for aaron’s jealousy and his eventual prisonstoryline.

everything since her entrance has slowly allowed the show tobuild up to aaron and robert breaking up. every one of their storylines hastied into that, or somehow been driven by her presence. every single one. andthe thing is… it’s nothing to do with who she even is - beyond that initialmanipulative streak she had which has disappeared entirely, it seems.

i know i’ve spoken a lot about her lack of agency as acharacter (and... just about her in general... here here here here here here here here and here are some casual examples... jfc...), so i don’t want to rehash that aspect but… it is more than that,isn’t it? it’s not just her lack of agency - it’s that, while she is absolutelyCRUCIAL to everything that has happened to robert and aaron and the constantcatalyst for every bad decision they’ve made, to showing us the ways thatthey’re not working, it’s not about who she is. who she is is irrelevant. theonly thing she ever needed to be was in love with robert and passive enough tokeep getting pulled back into his orbit and to help him do his bidding,regardless of how he has treated her. she never needed to be more than that andshe really… isn’t, in all honesty. again, i spoke earlier this week about herlack of core characteristics and that plays into that. more than that, eventhough she is the character that has been driving robert and aaron into Troublewith a capital T over and over, none of it has ever really been about her.

mostly - mostly it’s been about showcasing problems that alreadyexisted between them, working towards potentially resolving those issues, or atleast highlighting that they exist.

one argument to the above - recently it has become more abouther in the sense that aaron says that robert sleeping with rebecca inparticular, as his ex and as the catalyst for aaron’s initial jealousy - androbert being tied to her in particular with a baby, was so much more painfuland untenable to him than it might have been, had rob instead slept with arandom.

(it would never have been a random though because as the showtold us, even robert and rebecca sleeping together wasn’t about rebecca - itwas about robert in pain and wanting to hurt aaron. rebecca was an easy targetfor robert - the only thing she needed to be, in that episode, was desperatelyin love with robert enough to ignore any moral compunction she initially had tonot sleep with an emotionally destroyed dude who was married to someone sheproclaimed to like, which she was).

again - it always, always comes down to aaron and in particular,robert. and MORE THAN THAT, we now have robert on screen, being shown in apretty sympathetic light (for rob), in agony over the loss of aaron, once againallowing robert to show character development, to show his absurd love foraaron. and getting into spoiler territory, we know he’s going to get pulledback into the white orbit in a particularly 2015, pre aaron’s good influenceway - something made particularly possible by this brand new unshakeable bondto the whites through his son, who is currently chilling inside rebecca

(although you would never know if from her outfits)

none of rebecca’s story has been about rebecca. she’s pregnantand they haven’t even shown that really - not much beyond the fact that herfamily are supportive and the ways in which it has affected aaron and robert.

she just. she exists for robert and aaron and their story.possibly also the end of the whites, but that’s to be seen. that’s it. andthat… kind is really offensive.

or at least, it’s just writing that is very careless towards afemale character - something which is incredibly prevalent across the show as awhole, but particularly irksome here because this is the storyline we reallycare about lmfao

[rrafeeg-blog]

The original Housemaid

The Housemaid Part 1 , The original Housemaid, directed by Kim Ki-young in 1960, was a claustrophobic, suspenseful masterpiece announcing Korea as a major player on the international cinematic stage. The plot was simple: A family hires a housemaid, and, in doing so, invites ruin into their lives. The housemaid is clearly “off” already, but after the husband sleeps with her, in a weak moment when his wife is away, the maid turns psychotic and obsessive. By the end of the film, the power dynamic has completely shifted, and the family has become prisoners in their own home, dominated and lorded over by the maid who now holds all the cards.

Kim Ki-young’s camera slides through the cramped middle-class house, peeking through windows and around corners, creating a tremendously unbalancing effect, with shots that repeat themselves, sometimes obsessively, heightening the intensity and the sensation that this time, this time there would be no escape from that small space. A vicious social critique of middle-class aspirations (“If only I didn’t want a bigger house,” sighs the wife at one point), Kim Ki -young’s film was a massive hit (financially and critically) in Korea, and changed the Korean film industry forever. It dealt with current issues like infidelity and sex outside of marriage in a courageous manner, and it had a bold and stylistic look that has influenced a generation of filmmakers.

It is now 50 years later. Korea’s film industry is once again dazzling viewers around the world, and in this current climate of excitement and anticipation, The Housemaid has been remade by acclaimed director Im Sang-soo. Starring Jeon Do-yeon (2007 Best Actress winner at Cannes in Secret Sunshine) as Eun-yi, the housemaid, and Lee Jung-jae as the philandering husband who seduces her, the remake takes the core structure of what was there in the original and inverts it. Instead of members of middle-class family who want to buy a television and want to have enough money just to take care of their sickly daughter, the family in the remake is wealthy and lives in a virtual palace, high above the fray of the urban streets we see in the opening sequence. The class critique is still there, but instead of chastising those on the low-to-middle rungs of society for wanting more, it points its fingers at the soulless cruelty of the very-wealthy (a less interesting choice since the target is so obvious).

In Kim Ki-young’s film, it is the husband’s story from beginning to end. The housemaid emerges as a horrifying “other,” a demon from the deep who, once she has tasted the air up here, refuses to go away. The film is a grim warning to those who stray from their marriage (even up to the last moment, when the husband breaks the fourth wall and addresses the audience directly, a jolting theatrical choice). In the remake, it is the housemaid’s story. She comes to work at the house, and she is shown the ropes by Byung-sik, the senior maid (in a brilliant performance by Yun Yeo-Jong). Lee Jung-jae’s “Hoon” is calculating womanizer, with a very pregnant spoiled wife (Seo Woo), and a young daughter who sizes Eun-yi up with a cold solemn face that manages to be both endearing and scary at the same time. She is a creepy little kid, but you get the sense that she knows her parents are lunatics. Hoon is not getting enough sex from his pregnant wife, and so he sets his sights on the new girl. Eun-yi is swept away by the sex and finds him impossible to resist. (At one point, in a moment too visceral too imagine in an American film, she buries her face in his groin and sighs, “Oh God, I love that smell.”) The mansion is a sexual hothouse and she seems to thrive in that environment. Even the uniforms the maids are made to wear play up the sexual inequalities of the situation: body-hugging grey skirts, tight white shirts, and black pumps with glass heels. The glass heels are the giveaway. In Im Sang-soo’s version, this is a Cinderella story.

By removing the struggles of the middle-class from the equation and by focusing on the exploitation of the poor by the very rich, Im Sang-soo has, ironically, removed much of the unbearable tension found in the original. We know Hoon is a jerk (put down the wine glass, bub), we know his wife is a spoiled brat, and we know the housemaid is an innocent girl. The film operates from cliché and our preconceived notions about certain archetypes. The villain twirls his mustache leeringly, and the damsel in distress wrings her hands. It’s a shorthand. There is pleasure to be had in such broad performances (the acting is fine throughout), but a lot of power and suspense is lost in that transfer.

The look of the remake, shot for shot, shows the characteristic boldness that Korean directors are known for. For example, there’s a scene in a hospital waiting room, with a solitary character sitting in a stationary chair. The camera rests on her. Rolling back and forth in front of her is another character, in a wheelchair, passing across the frame. The emotional tension is in the stationary character; it is her scene, but her emotions are made manifest in the restless pacing of the other character in the wheelchair. This kind of old-fashioned “blocking” of a scene in order to show the emotional subtext of any given moment is what the American studio system used to do so well (when the directors and actors all came from vaudeville and theatre, and where blocking like that was par for the course, since it had to be readable in the cheap seats). Every scene in The Housemaid has something interesting about it visually.

The mansion is almost another character in the film, filmed in exquisite and almost excessive detail. The space is extraordinary, echoing and endless, reminiscent of the cavernous maze that is Xanadu in Citizen Kane, or the creepy marble-staircased abode inhabited by Claude Rains and Ingrid Bergman in Hitchcock’s Notorious. The problem with the house, though, is that it is so grand, on such an otherwordly one-percent-of-all-humanity-lives-like- this level, that it is hard to know what we should be feeling about it, except envy at the beauty of it, or relief that we don’t have to be in charge of cleaning it. Neither reaction is ideal for what should be a psychologically taut and suspenseful film. Im Sang-soo and his team of set designers put a lot of love and detail into that house, and it shows. But his attention perhaps was needed elsewhere. The original still terrifies. This one, while visually exciting with a shocker of an ending, and a strange coda right out of David Lynch (a nod to the “this has been a public service announcement” ending of the original), does not terrify. It remains a beautiful visual statement, with some seriously mixed messages at the heart of it. The on-the-nose economic critique does nothing to help excavate the guts of this nasty little tale, because we already know who these people are. Nothing they do surprises us.

There is one notable exception, and that is Yun Yeo-Jong’s performance as the head maid, Byung-sik. The actress worked with Kim Ki-young in 1970, appearing in his second film, Fire Woman, and she has had a long illustrious career. Byung-sik maintains a stony face in the presence of her employers and is an efficient and brisk employee. But when she lets her hair down, sometimes in the presence of Eun-yi, but mostly when she is by herself, a torrent of anger and contempt comes pouring out of her, giving the film its funniest moments. She lies in the tub, smoking a cigarette, her gestures suddenly blasé and “over it,” and the contrast between that and her buttoned-up professional behavior is specific, humorous and eloquent. Every gesture, every look, even the slightest hint of an eye-roll behind everyone’s back, suggests volcanic rage. Eun-yi confides in Byung-sik at one point (a big mistake), and Byung-sik cuts her off coldly, in a flat tough-dame voice right out of film noir: “Listen These are scary people, okay?” To see Byung-sik flailing about drunkenly in her room, late at night, screaming her helpless fury up at the camera placed on the ceiling, is to feel the energy that should have been present in the film entire. There is your real class critique. There is the demon emerging from the deep. Yun Yeo-Jong steals the show.

The Korean film industry was, in many ways, launched into the modern era with The Housemaid in 1960. In recent years, Korean films have gained a new generation of passionate fans, due to their creative, dazzling style and confident experiments with well-known genres (Chan-wook Park’s exhilarating and bloodthirsty vampire movie Thirst (2009), Bong Joon-ho’s serial-killer-police procedural Memories of Murder (2003), as well as Bong Joon- ho’s more recent The Host, and Mother, just to name a few). A film industry that is so certain of itself, so confident in its aims, is reminiscent of the studio system in 1930s and 1940s America, where artistic aims and commercial aims often walked hand in hand. It is a rare thing today, in part because such a willingness to take big, bold swings guarantees that there will be misses. Im Sang-soo’s The Housemaid is what happens when a film-maker’s bravery isn’t quite matched by his vision