#but I wanted to post something for him because. yknow. he’s kind of what started this blog.

[fae-morrigan]

Someone put a post (where they admit they straight up dont know these characters lol, and also spell damian as 'damien' so like. yknow.) in the tags saying that if you're a fan of Jon & Jay, you shouldn't buy super son. Well, as the crowned CEO of Jay & Jon, I'm here to tell you guys that you absolutely should.

Super Son did the amazing thing of hitting several marks that I predicted while still managing to surprise me in how they hit them. Which is high praise for any story: A great narrative should be able to both meet reasonable audience expectations (i.e, staying in character, setup payoff) WHILE STILL throwing in curveballs that tell you something new.

There's a lot I want to analyze and get into, namely how I think the rooftop conversation between Jon & Nia is really brilliantly done in what it says about both characters, but mainly I've been thinking a lot about how great those last few pages were and how I think Sina absolutely nails how Jon & Jay's specific issues interact with each other.

Jay's always been a blunt person. From their first meeting back in SOKE 2, hes said what he thinks, and rarely does he try and soften himself. More than that, his bluntness is often a shield from vulnerability, which Jay struggles with the whole scene. It makes total sense, after what hes experienced (re-traumatization at the hands of a friend) that he's displaying that trait again.

Jon, however, is immediately vulnerable. This is the most poignant confession of the issue: Not even in the amazing sequence of Nia helping him make a place in the darkness (look, its back, thanks isabel!) do we get this admission of fear.

And Jay, like always, embraces him. Sidenote, LOVE how they got in the thing Jon does where he's constantly tucking his face in people's shoulders during hugs.

But the moment ends, and we get here. First of all, cold af. I could feel the aura before I turned the page.

Second of all: Jay is totally valid in feeling this way. And it makes perfect sense that he would.

Sara was his everything. Getting her back was one of his main motivations in SOKE. Because of Nia's actions, she died horribly (do you know what happens to a person when they fall from that sort of height? I do. Its AWFUL.) for an unjust cause. Of course he's glad she can't hurt anyone else!

And that's when we get to my FAVORITE PART! Oh how I love this bit. Because like. You understand why Jon's angry- Its a harsh thing for Jay to say! Nia was the one who kept him sane while he was trapped in his own mind! But Jay, like always, is RIGHT: Jon DOESN'T get it. How could he?

Jon Kent will NEVER, ever, be put in this position. Out of universe, his parents are Clark Kent and Lois Lane. They'll ALWAYS come back. Hell, the fact they'll always come back is something Ma LITERALLY says to Jon in SOKE. He will never, ever have to know this pain.

In universe, Jon's a white american. Despite being queer, despite being an alien, he'll never know what its like to be this kind of collateral, delegated as pawns in a greater war for 'freedom'. That is what killed Sara at the end of the day: imperialism.

This next bit hurts my heart. Great job, guys!

For one: Jon claims he's not excusing the mistakes Nia made, but by downplaying it like this... yes he is. But did you catch that part? Right at the start of that bubble?

"I'm going to fight every day to make up for my own part in this."

That's where it clicked for me. Something I had been hoping for since Nicole first called them twin flames.

He's projecting.

Of COURSE he's defending Nia. Of COURSE he wants Jay to forgive her. It isn't just about the fact that she gave him support, it isn't just the dreams, its the fact that... well. If Jay can't forgive her... how could he EVER forgive HIM?

THIS is where the fact that Jon and Nia are so similar as character SINGS. They become mirrors to each other, evaluating their own self worth through the other, at the unintentional expense of the people they've hurt.

Jay's right, though. Again. Its almost like he's the embodiment of the truth or something. He doesn't HAVE to do anything.

When he starts crying though, I immediately was RUINED. This is the first time we have EVER seen him cry before during his entire existence of a character. And its not really even because his mom is dead (though yes, that) and its not even because of the argument. Its because Jay fundamentally wants to be understood, and he's not getting that.

Which is important for the next bit:

I want to first backtrack a bit to Son of Kal El again, specifically, issue fourteen, right here.

Hello, two-panel sequence that succinctly describes these two as characters. How convenient you are for me, a guy analyzing a work that isn't written prose.

Jon isn't good at letting go, for better or for worse. The things he cares about stay with him, and when something or someone tries to exit his life, he clings to them with all his might.

Jay however, both selflessly and selfishly, is willing to let go first if he thinks its better for the other person. To me this line so effortlessly summarizes who Jay is- he's a person who's accustomed to not having things, and will leave before it hurts and he gets too attached.

And that thought is ALL over this scene. Jay, who begins to let go, Jon, who both literally and physically CLINGS to jay, practically begging him to stay.

(Sidenote. This is like, the third time Jay mentions breaking up when Jon starts acting up. Good for you king, keep that white boy on his toes, let him know he ain't all that.)

Every little detail of this four panel sequence is killing me. "My worst nightmare is not having a home with you in it." His greatest desire. The thing that kept tipping him off in every fake reality Nia constructed for him- Jay's absence. Him wiping the tear of Jay's cheek. Jay walking away from him.

But what really gets me is how on this page, Jon talks about them as 'we', while Jay is firmly stuck in 'I.'

This is what made me LOSE MY MARBLES at three in the morning. Just utterly fucking off my rocker in a straightjacket talking to myself.

Because this is what JON wants. But is it what JAY wants?

Jon never asks.

What about what Jay fears? What about the life that HE wants? What if he doesn't want San Francisco? What if the life he wants is the life he HAD before everything went wrong? Jon outright says he wants a fresh start. But Jay, Jay's someone with such deep connections to what he just lost, what he likely WANTS to get back. His country. His mother. His sense of self. But. He says yes.

(Sidenote. FIRST I LOVE YOU WOOOOOOOOOO) To quote my buddy Dami: Oh, the drama of needing a future with someone who can't get over the past.

It is left unclear, by the end, whether or not Jay is saying yes to this because he genuinely wants to, or if he's only saying yes because he doesn't want to lose Jon, too. Jon doesn't stop to question whether or not Jay's only reaching after him because Jon's walking away. We, the audience, are left to ponder that for ourselves.

How much of Jay saying yes is him just accepting that this is the best he's going to get? That he's never going to be understood because nobody wants to understand?

He's an afterthought to Nia, an obstacle at best, and to Jon he's a particularly handsome prop in this little fantasy he has of running away and starting new. He's either not thought of at all, or when he is thought about, it's in the context of how he can emotionally fulfill the other person And you get why Jon did this. He's desperate, he's hurting, he just got tangible evidence that the time he has with the people he loves isn't ever guaranteed. He's been needing space from Clark and Lois for MONTHS because god knows they haven't been fulfilling his emotional needs. In a very real sense, Jay is who he has.

But wanting someone to stay with you so much that you'll... Not even ignore, but just not ever consider what they may want. The intentional isolation, moving halfway across the country away from all support systems. The need to cling to someone.

It reminds me of... something. Someone.

Don't tell Jon I made this comparison. He'll kill himself. Jon and Ultraman ARE similar. They're both such deeply lonely people who cling very tightly and even though it manifests in different ways and even though they have different core thoughts about it. The effect at the end of the day is the same, isn't it?

Is loving Jay not a brutal act of destruction?

There's so many more details about this story I love. Jon & Nia's conversation being vague enough that you have no idea how Jon meant what he told her but you KNOW how NIA took it (girl you can do better hes literally ugly!). Jon breaking a pillar by bonking his head against it (LMFAO). The pretty lies vs ugly truth dichotomy of Jay vs Nia here.

But this one scene, man. This one fucking scene takes the cake. STELLAR work all around. Every panel counts.

This better lead into a full Superman & Gossamer run or SOMETHING or I'm going to have WORDS with DC's editorial staff.

[dawn-moths]

there’s a lil noe one shot coming tomorrow for my blogs 2 year anniversary ☺️

[nats-revival]

Jealous and possessive abby - not in a toxic or abusive way but maybe you guys went to a party and your ex or some random decided to act up and be crazy and start hitting on you when everyone knows you're hers so she starts getting protective and marking her territory - she never blames you for it but she just wants to remind you who you belong to so she feels better with your consent if course and you find it hot asf

𝙢𝙪𝙨𝙩 𝙗𝙚 𝙡𝙤𝙫𝙚 𝙤𝙣 𝙩𝙝𝙚 𝙗𝙧𝙖𝙞𝙣 | 𝙖. 𝙖𝙣𝙙𝙚𝙧𝙨𝙤𝙣

pairing: abby anderson x afab!reader

tags: alcohol consumption, mild language, theres a gross man, abby is possessive (per the request), i think that should be everything???, i still stuck at tagging

a/n: was lowkey stuck on this prompt bc i don’t remember the last time i did smth like this but also, i procrastinated like, a lot. tbh i don’t rlly ever proofread anything i write i just post it with a hope and a prayer but wtv! i hope yall enjoy this. 🤍😙😙

bodies filled the house you and abby were currently in. the air smelled like alcohol, sweat, and a mixture of cologne and cheap perfume. this wasn’t particularly your scene, but abby wanted to go since one of her friends were hosting the party. you sorta stood on the wall, nursing a cup of.. something abby mixed for you. she wanted to prepare your drink herself. yknow, cause people are weird and like dropping shit in your drink without your knowledge. the screen of your phone illuminates your features softly under the red and purple LED lights. nobody dared to bother you much because everyone knew you were abbys girl. god, she never shuts up about you! but it’s only because she loves you so much. she also did it because she wanted to make your relationship known, and she’d gladly knock the lights out of anyone who dared to approach you cause she didn’t play that game.

the necklace around your neck had her initial on it. she’d gifted it to you during valentines day last year. it glints a little from the light coming from the screen of your phone. you’d been mid sip when some piss drunk man came stumbling over to you. and suddenly your settings app looked interesting as hell! he stops infront of you with a woozy smile and a flushed face from drinking. lowkey, he was like, really ugly. he’s the kind of guy a girl would only fuck in the dark. “what’s a pretty girl like you doing all alone?” he asked as he looked you up and down with obviously lustful eyes. “ah, im.. actually not alone. im here with someone.” you say as you give him an awkward smile and a chuckle. “i don’t see ‘em. why dontcha come with me? we could go back ‘t my place.. maybe order somethin’ to eat.” you politely decline and give him another awkward smile. while trying to ward this man off, you text abby.

“theres some guy over here flirting w/ me, help!!” you text her while trying as much as possible to ignore the man. he was relentless! he just wouldn’t stop talking and making gross comments. you look up from your phone to find your girlfriend pushing her way to you, through the couples grinding against eachother and making out. she smiles as she approaches you, then wrapping her arm around your shoulders. you lean against her. “so, who’re you?” she asks as she looks at the man, then tossing him an icy glare. “who am i? why should i answer you?” the man had a raised eyebrow and he’d been holding a now empty cup. “well, cause you’re hitting on my girl. so you should probably tell me why you’re doing all this.” her voice was low, raspy and a bit threatening. her possessiveness was dumb attractive, and you surely felt a little hot!!! “hah, this is your girl? she’s outta your league, bro. just give ‘er up. ill treat ‘er soo much better.” the man had become bold. abby didn’t like that. “mm.. nah. she’s fine with me. aren’t you, baby?” she asks as she looks at you. you nod with a small, stupid smile on your face. she presses a kiss on your forehead before she looks back at the man.

her touch had lingered on your skin even when you knew she wasn’t touching you. she sits on one of the chairs with a sigh and you sit next to her. “god, people are so disgusting!” abby said as she lets out an exasperated sigh. she hated when people treated you that way. but you just couldn’t seem to forget that voice she spoke in. the raspiness made this sorta electricity shoot through your veins. she was rambling about something, but you’d began listening when she’d been nearly finished speaking “—that shit wasn’t okay, and nobody should be treating my girl like that. i mean, gosh, some people just really can’t take a hint can they? i was so close to punching him just like id done that other guy but i controlled myself. and, ill just say, it isn’t your fault. i just really don’t like that. you don’t deserve that. not at all.” her voice softens towards the end of her sentence as she places her hand on your thigh gently.

your hand finds itself over hers and you smile at her. “sometimes you gotta punch people for ‘em to understand, yknow?” abby says as she looked at you with the same softened gaze. “abby, no, i will absolutely not be punching anyone… that’s what i have you for. and you hit like, waaaaay harder.” you chuckled. “well, maybe i should show you how to hit real hard.” you shrug, and she smiles at you, giving your thigh a gentle squeeze. “how bout we get outta this shithole?” she suggested with a smile. “oh, yeah. let’s go. im literally starving!” the both of you nod as you begin walking off the porch. as you walk to the sidewalk, the guy from earlier comes running and stumbling out of the house. he was after abby. you noticed and alerted her. “oh shit, we’d better run!” she grabs your hand and the both of you run to her car, giggling and looking back at the man (whos running slow as a snail) and forward at her car.

[erinwantstowrite]

hi!! first off i just want to say i love LOF and i think it really stands out in this niche genre of “spiderman in gotham”, its my absolute favourite fic rn and im loving the long chapters and dynamics between characters :)

for my question, i wanted to know if you ever considered writing any portions of peters past. specifically when he was “Parker”, an informant for the avengers. it sounds like a really interesting story and i’d love to know more about it, no pressure tho ^^

thank you so much!! I do plan on writing more about it. I honestly want to do a prequel,,,

I have some of it written actually. It was called It's called "Technically Not a Lie (Just Omitting Information)" and what is hilarious about that is it's only 27,000 words right now. I haven't touched that fic in forever because I just... had all of the information written down and the planning, and I got into Batfam and was like "Let's just write a little about this" and we can all blame @alighterwood for where we are now LMFAOOO

Thing is, I never expected LoF to get so popular, which is why it was posted first. I was like "I'll just make sure as much as I can that LoF is clear about his past so anyone who isn't me can read it and be fine." And now that we're here, I'm like "...that might be important."

I think it would be fun to have a prequel so more people can see the dynamics of Peter's world from before LoF in a much clearer light.

I kind of wanna shed a little light on how this prequel would go:

He ran from his last foster house at 12 years old, and he's year years old in this fic. In that time, he has been determined to make a life for himself all on his own, as well as help people as Spider-Man. He has no idea that his personality made people trust him so much. He's only on the street for about a year by the time the story starts, but "Parker" is very much intertwined with people. People just know him, he's the kid that the other kids go to for help. Even without Spider-Man (who, at this point, has only just gotten a proper suit and people actually realize he's not a cryptid), Parker manages to help people.

That's why the Avengers end up talking to him. Kids are going missing in Queens and show up dead- but most of them are the homeless population. They think it has something to do with people trying to make a knock-off super solider serum, and during their investigation, everything comes back to "That Parker Guy." Not in a bad way- everything has nice things to say. One kid even says they'll only talk to them if Parker vouches for them.

Turns out, Parker is a 13 year old and a fucking genius. I mentioned in LoF chapter 1 about it a little bit, and here and there it was mentioned. Peter gives the Avengers a real run for their money the way he does for the Batfam. Except it's ten times worse because he hasn't gone to therapy and is on his own, yknow?

So Bucky and Steve run across Peter (who is doing his own investigation into the missing kids as both Parker and Spider-Man) and that conversation ends with Peter going "Look behind you!" and sprinting in the opposite direction.

Sam and Banner are the ones that really track Parker down and have the first contact with him, and from there, he becomes their informant. Of course, he's also lying to their faces. Swears that he has a mother waiting for him and that he's just really good friends with these people. And people have lied several times to their faces for Peter, going with the lie, which muddies the waters about what is and isn't the truth.

From there, the rest is history. Tony thought he was just viewing Peter like he was a puzzle to figure out, and is truly shaken to his core when he realizes how much he cares about the little shit. When Peter gets kidnapped by the people making the knock off serum, they go looking for him. And Peter ends up having a home :)

[yanderesimp2000]

Extreme Yandere Adam x Fem reader Chap 1/5 Start of your new life !MINORS STAY AWAY!

(hey this is my first post here Just wanna say my english might be bad since I'm from Armenia but I'm excited to post here I USED ALOT OF INSPO FROM OTHER ADAM WRITES TO here are the TWS

Kidnapping, Adam being an incel as usual, threats of violence , Degrading, Manipluation, Violence, Noncon listener, threats of SA ,Gasliting, narcissism and rape if that's not your cup of tea SCROLL

Your are an angel You made it into Heaven recently Heaven would be like a paradise but is kinda like your old life in the big city You have to get a job buy things and Just deal with the classic shit of reality even though your in the FUCKING PROMISELAND

You decided to just be what you did back in Yerevan city and just be a secretary but it was the person to hire you that was strange it was Adam the First man when you met him you expected him to be some wise, kind and Gentle soul but instead you got a creepy, weird man child that you needed to cater to at every Second, Like you could just be standing in Adams office when he says "hey bitch bring me that soda bottle" the bottle was 2 inches out of reach. It seemed like he took pleasure in seeing you be miserable he always said "good girl good good girly" LIKE YOU ARE A FUCKING PET

Every second of your time with Adam was hell he was rude gross and was a FUCKING MISOGYNIST today while you were giving him a back massage he said "yes good girly" again as usual like you were a fucking pet but then he said "that's all you women are good for to serve men" this Made you even more angry but hey the pay is good and that Leeds to today You walk in sad as usual into Adam mansion when he starts making comments about something your already insecure of your wings he rubbed your wings and he then said "heh bitch your wings are so dirty you a fuckin slob yknow that but a hot one at that" he then Grabbed your ass and that's when you broke "GET THE FUCK AWAY FROM ME" you yelled "I QUIT" you then storm of and back into your apartment crying about the insult of your wings and just fed up in general But that's when you get a text from Adam he always texted you when you were working for him but you quit it read "You really thought you could leave me you DUMB WHORE I treated you soo well I gave you everything you could of wanted and this I how you repay me I don't even need you you stupid fucking slut"

You were used to Adams shit by now but this this was just something else you text back "Adam stop messaging me Ill be back tomorrow at 10 am to get my stuff from my office and you better not try ANYTHING" he then responds "why would I try to interact with a brain dead whore anyway" that hurts you but you brush it off "being verbally abused by that dickhead isn't worth the pay" you thought before going to sleep

The next day you woke up at your alarm you got dressed but on a casual Black hoodie with Sweat pants because you weren't doing anything today other then going to Adams mansion to pick up your stuff. you flew over to his mansion only A 13 minute fly before landing at the door you were nervous but you knocked you waited and waited until someone opened the door "wow the whore really had the nerve to show her face again' He snarled "well I cant be to mad at you your fucking hot all we have to do to make your perfect is Shave down those ugly wings" he said in a arrogant tone. You walk inside and go to were your stuff is before you hear Adam locking the door 'what the fuck are you doing Adam" you snarl His mask lights up into those annoying little circle eyes he looks like a giddy child

"well I Talked to The big man upstairs if you get what I'm saying and since he would NEVER Say no to his precious Adam his first creation the person who gets ALL his love and affection he said I could keep you since your such a low ranking angel and you have no family in heaven no one will miss you " He still looked like a giddy child while saying this as all of a sudden He pulled out a stunning ring filled with jewelry and gems and luxury "cmere" he says before Walking towards you he towered over you, you were a quite short and small angel being only 5,5 and he was a Huge 13,2 foot angel. " ADAM THIS IS NOT FUNNY" you yelled at him but he said "Bitch? its not supposed to now were gonna cuddle and snuggle because Im feeling lonely and you cant do JACK SHIT" he sounded firm and serious you were scared and try to make a run for it but were tackled down "fuckin bitch your not escapin" he said before tossing you over his shoulders and taking you into his room upstairs and throwing you onto the bed before "cuddling" with you which was more like Wrestling a teddy bear he managed to restrain you with ease and he giggles "I love small girls like you so short and weak easy for me to... Manhandle" he says in an ominous tone you keep squirming and this just makes him giggle "so feisty" he says "don't worry my little Slut I'll fix you sooner or later I'll break your brain down till its just mush then I'll rebuild it to my liking and then you'll be loyal to me just me unlike those last 2 whores I married ill make sure you never leave" he says in a low coo ''i don't like you adam' you hissed he then got surprised "oh talking back to me don't you know who I am Im Adam the first man and your my new Wife you were created from my fucking rib you have to that me for your existance Im a superior being and your just my Wife you should me grateful so many people would beg to be in my presence and your trying to leave it ungrateful whore" he hissed as he started down at you you noticed he was starting to undress first his shirt then his pants then his Underwear but he kept that stupid mask on

His dick is fucking massive it was huge or maybe you are just small but damn and around it is just a bush of his grey hair He even has a piercing on his cock and his dad Bod OMG but as much as you hate it he was hot "like what you see" Adam teased you try to squirm away only angering him Well if your gonna resist I guess I'm gonna have to fuck that tiny pussy lose he said eagerly before starting to Teasing his cock around the hole "sh sh sh sh sh shhhh let it happen" Adam cooed "your my new wife you like this you have to your just in denial" he giggled before saying "Oh your sooo small My dick might kill you I bet I'd bet I'm like I don't know fucking 11 feet taller then you and my dick is huger then anything I've bet you've seen" he teased while rubbing his cock at the entrance of your pussy "damn it I just cant hold back" Adam yelled "p-p-please stop Adam" you whimpered but it just turned him on more as he said "going in bitch" suddenly you feel his entire dick in you it was huge and painful you were not enjoying yourself but Adam was "f-fuck babe I'm fucking you loose" he laughed as he kept fucking me so hard I felt like I was gonna throw up blood and organs he rearranged with every thrust it felt like a new bone in your body was being reangared you tried to flap your useless little wings which just made him think you were even more about how precious you are "that's so cute the only thing I dislike about you is your wings they get in my way might have to clip your wings soon" he teased scaring you He kept thrusting and more and more got hurt the more you pleaded whimpered yelped winces or squealed the more turned on he got as he was thrusting he laughed at the bulge in your stomach from his dick "it went to far in you really do like this ya whore"

You let out a whimper when he said that and that was the turning point he said "f-fuckkkkk I'm cummingim cumming" before long ropes of the warm jizz entered your pussy "yeah get pregnant bitch that's your only purpose breeding machines for men" he said at you and said let me clean myself up He then gets a rag and clean you and him up before seeming to get more gentle

"look I'm sorry when I get horny I go feral this is not how I am most of the time your just so fucking hot I just c-cant control myself" he said while cuddling you "I love you I really do and this world is cruel you have no family here no friends Nobody I'm the only one you have so im taking you under my wing figurative and literally" he said laughing since he tucked you in between his warm chubby chest and his soft comforting wings he then gets really soft and says "I've seen you on your own and your in so much danger so many people will try to take advantage of you and you have nobody to run to but me so I take it as my duty to protect you and coddle you like the cute little toy your are" he says that in a low coo while petting you his soft voice seemingly temporally calming you down you start to stop Wriggle and start giving up and snuggling into him causing him to turn bright red "their ya go girlly your a good little Beliver right so you should worship me if it wasn't for me you would not me alive you would not of been a thought you have to thank me for everything and disobeying me is just like spitting in the face of God it will get you banished to rot in hell ya get that" he pats your head as you cuddle into his chest since he's so big you look like a little housecat on his chest ''thats it just let my voice soothe you to sleep once you wake up tomorrow your life will be soon much better he teased as you snuggle against his body "nighty nighty" he says before you drift off to sleep

[ask-funnybunnydoll]

Hi!

I think I have to move on.

You may have noticed that all of a sudden my posts have become less and less frequent. That's not on purpose I simply don't have the motivation to keep this ask blog going. I made this blog at the peak of my TADC hyperfixation because I knew it would give me the boost to work. At the start I made like, what? 2 a day, wowzas! Then it became like every other day posts. It's not that I don't enjoy the blog, the ship, the asks. Hell, the asks were the best part of this, I love just seeing what you guys come up with for these three and I get to do the even more fun part of drawing the answer.

But I still have no motivation to keep this going. And I have fixated on something else if you follow my main.

So, thank you for being here and still liking my posts even if I hadn't posted often. This was the most fun I've had and being my first ask blog I ever created just makes it more important to me.

I probably won't ever revive this blog but I'll keep it open for you. And if you want to see what the story I originally planned out was gonna be then check below the cut! Or if you wanna stay curious and theorize then just scroll by. Thank you again, hope ya have a great day and year. I hope my shit was at least okay to you.

I'm not gonna lie. Most of the stuff was just created along the way of drawing. I was like, huh this would be cool let's add that in. And ofc I didn't get to any juicy lore in this but it would've been rushed because I didn't plan beforehand... which you probably could tell xd

For Pomni, here's the plot twist: she's dead and her conscience was updated into the game to keep her somewhat alive. She worked in the place that created the game, she even took part in putting people in there. The entire game was just an expirement to test if immortality was possible, but of course.. everyone goes insane in there so they have to keep on and keep on trying with more and more people to get anywhere. They wait until someone goes to edge of absolute insanity and that's when they take them out of the game, their bodies are still kept alive and they go back to normal. They forget everything that happened while in the game. For Pomni she died just after her conscience was converted to the game, for others they were forced to go while alive. Who killed Pomni? Well, her boss, the head of the experimentation. Why? Idk 😭

For Jax, I gave him a dark story. He was isolated in his home and kept away from the outside world, which is why he lacks empathy, because he simply doesn't know how to feel that way when he never really had knowledge of emotions outside or even inside his home. His father was emotionally and physically ab4sive so.. that didn't help. He latched onto his mother the most but they never saw eachother often. That's all I had for him in mind.

For Ragatha, she lived in the country on her own land with her husband. Yup! She had a husband and a daughter too. Husband was a total jerk and she couldn't leave because she didn't want their kid to experience separated parents. She's a doll in the game because it resembles the doll she made for her daughter.

I also had some plot that I made up in my mind. Like.... Pomni at the end would be the last one alone in the digital circus. That being since she's dead she would just be yknow. Dead if she left the game. Jax and Ragatha leave but only because Pomni forces them. Again don't know how, I probably would have made it up while I went along with the story. So, Pomni is just there alone, with Caine. And she lives like that for eternity. She doesn't go insane anymore and it isn't as lonely as it used to feel like. It would feel like home kind of. But she would be there, longing for her partners forever unless she decides one day to just. Yknow, die..

Also since Jax and Ragatha would forget everything after they leave the game, they just don't remember they were in a relationship and would live their lives like before. Sad and lonely.

Goodness, I forget I make the most sad stories ever sometimes 😭

[lollytea]

Love the idea that the feral, hormonal Willow post and the dress measurements post take place simultaneously, so you have this teenage girl holding onto her restraint by the skin of her teeth and then suddenly getting a text from her boyfriend with his measurements because??? what???does she do with this??? Is he making a move?? Is something happening here?? It’s probably too forward to send her own, right?? Should she just go for it or gather intel from her friends first?? meanwhile Hunter is just like “I’m gonna make Willow such a pretty dress :D”

YES!! That is exactly what's going on here. I have this vision of how Willow and Hunter's romantic relationship started off. Things moved quite slow, because Hunter got overwhelmed very easily and Willow liked him so much and didn't want to make him feel uncomfortable in what should be a safe space. It's very new and neither of them really know how to approach romance immediately, but one of them desperately wants to practise and one of them needs more time to ease into it.

Willow is always watching Hunter with sharp eyes, intently reading his body language, waiting for any kind of signal that he'd like to do a little more than hold her hand. It's usually Willow that initiates the less nerve wracking stuff like hugs and hand holding and casual affection, but she let Hunter kiss her first. She's very proud of herself for noticing the way he glanced at her mouth or she wouldn't have asked "do you want to kiss me?" and then he wouldn't have done it. Whenever Hunter initiates something, Willow knows he wants this. She knows they're making progress.

Once during a group movie night, he fell asleep resting against her side and she laid in that uncomfortable position all fucking night. He eventually started sleep snuggling her and she she was fucking EXHILERATED. This is what she's been starving for.

A headcanon that I hold so near and dear to my heart is that Willow is secretly batshit insane. Totally bonkers. Off the fucking rails. Yknow just in general. And Hunter definitely makes the crazy flare up. But she's always been good at hiding it so nobody suspects a thing.

Hunter is not very good at articulating how he feels about Willow but he's desperate to express it in any way that he can. So he's always doing nice things for her. And making her laugh. And supporting her in any way that he can. And surprising her with little gifts that he made.

Willow also isn't all that good at articulating how she feels about Hunter. "You're cute" and "You mean a lot to me <3" and other casual flirty lines are used a lot but she's not quite covering the extent of emotions. She feels a lot more intensely than that. She can't really put it all into words. All these feelings give her the unbearable urge to start gnawing on his flesh like a fucking damn griffin drumstick.

The texts make her wanna act up somethin fierce

Hello_willow: what are these?

RULERZREACHF4N: My hip, waist and bust size <3

Willow at her fucking LIMIT:

What does that MEAN?? WHAT DOES THAT MEAN??? Is this flirting? Maybe Hunter's idea of a scandalous text?? She knows from whispers in the hallways that sometimes significant others send pics when they wanna get bold. Like shirtless pics. She has been hoping every damn day that one day her scroll is gonna buzz and its her shy boyfriend, deciding that he likes the way his chest looks today and he wants to show it off to her. But it can never be that simple, can it? NO. Her fucking tailor of a boyfriend it trying to speak to her in tailor language and she can NOT fucking fumble him right now because there's a chance that if she gets this right, she might get to put her hands on the areas that he has given her the measurements of.

Hello_willow: Oh

Is she supposed to compliment him on his beautiful measurements? His broad chest? His slim waist? Should she say that she'd have no problems wrapping her arms around him? That he is the perfect size for squeezing? That she wants to come over and see for herself if he's being honest? Is that what he wants to hear?

RULERZREACHF4N: Is there something you want to tell me? :)

Willow panics, suddenly feeling the pressure to answer quick. What does he want?? WHAT DOES HE WANT????

She quickly decides that she CANNOT be bold here. Because all of the things she wants to say are shockingly indecent.

That's when she realizes. It's Hunter. Hunter, who told her yesterday that he used to be scared of the dark when he was little. Hunter, who might be trying, in his own weird Hunter way, to be a little more vulnerable. Give her more personal details about himself, so she knows that he trusts her and feels safe with her. Like when a beast rolls over on its belly.

A little of Willow's tension melts away. He's very sweet. She likes him an awful lot.

Not knowing how to proceed, Willow awkwardly tries to let him know that she appreciates him telling her things that he thinks are important.

Hello_willow: thank you

Feeling a little unsure, she adds a question mark at the end. And then, upon getting a few seconds of silence on the other end, she panics again and hurriedly types another message. A little more upfront this time.

Hello_willow: I love learning new things about you Hun. You have very elegant measurements <3

Another twenty seconds pass.

RULERZREACHF4N: Thanks. You're sweet <3

HALLELUJAH TO THE TITAN, TO THE SON AND TO THE HOOTY GHOST!!! HE THINKS SHES SWEET!!! SHE IS GONNA GET TO HOLD HIS HIPS TONIGHT!!!!

RULERZREACHF4N: Can I have your Dad's number?

NO!!! HOW THE FUCK DID SHE FUMBLE THIS!!!!

[bestworstcase]

@cryptidblues tumblr ate this one too, maybe drop tumblr support a line to check if you’ve been erroneously shadowbanned 

Oscar is dying! He’s dying! We’re getting the full weight and crisis of the merge in volume 10 I NEED IT. The image of him collapsed on the sand as the sunrises with his back to the long memory OOUGH just like Ruby and crescent rose after she drank the tea, before the tree took her. The reversal on “I don’t want to be me anymore” / please let me stay myself. The lad is being eaten alive! From the inside out! By an unstoppable brain parasite that will kill him! And Replace Him! I Need the slow build up of horror from Oscar and everyone involved. “And Oscar…just isn’t himself” they’re place setting. Getting the table ready. Ooh yknow he’s hiding those merge episodes/attacks from his friends. I NEED the existential terror and dread! BUT I NEED THE CATHARSIS OF OSCAR BEING KNOWN, SEEN & SAVED TOO ;-;

NOT to make a post oscar about ozma instead but the thing that is really, really pulling the hinges off for me is the implication that this is happening because oz started actively fighting the merge. as long as oscar resisted and oz kept up the drumbeat of “this is inevitable, there is nothing either of us can do,” the curse kept on quietly eroding oscar as the boundary became thinner and thinner between them. it was, for lack of a better term, stable. 

the moment oz tries to resist, the curse starts trying to rip him forward. to force him to take over, inflicting what seems to be torturous amounts of pain on both of them. the subtle, silent, invisible violence that was inflicted on oscar before explodes outward to attack both of them. 

how many times have i said this curse is specifically designed to make it impossible for ozma to change? that the whole point is to prevent ozma from ever changing his mind or defying the god of light? never doubt me. the literal fucking instant ozma tries to break free, the curse becomes YOU DO NOT HAVE A CHOICE. 

the curse had a failsafe the whole time.

/ozma tangent

oscar though. this poor kid. like the greatest burden on his shoulders in the last four volumes has always been that no one wants to openly acknowledge what’s happening to him and the nature of the merge’s violence being so completely internal means that no one has to look at it except him. and he’s been so isolated in that existential dread but he’s also grown so accustomed to being treated like just. the next ozpin. that when the violence abruptly becomes externalized in reaction to oz’s resistance, oscar… hides it. keeps it to himself. somewhere deep down the idea that it doesn’t matter to anyone what happens to him got lodged in his brain so deeply that he keeps it hidden!!

and i’m obsessed with the emotional complexity the layers of what he’s feeling with regard to ruby, because it’s not as simple as that he misses her and aspires to her optimism; there’s also some underlying resentment there (“you were always so sure that everything would work out…right up until the moment it didn’t” <- paraphrasing) because she was wrong and he wishes he could borrow her certainty but she was wrong. she fell. she was wrong. 

BUT AT THE SAME TIME, everyone else believes that they’re gone forever. that they’re dead. oscar doesn’t. he’s thinking about it in terms of where they might have gone, what might have happened to them, he’s doing research because deep down, there’s a teeny tiny spark of hope that hasn’t been extinguished yet. so there’s this subtext of i wish i had your certainty. even though you were wrong. i’m still trying to find you. we’re still fighting this. you always saw me for who i really was. i don’t know who i am anymore.—there’s this tension throughout the monologue between bitterness and hope, and i don’t know if oscar is even capable of seeing that he is still hopeful or that he does have, if not ruby’s kind of certainty, something of his own that rhymes. he’s feeling this bleak about everything and still trying to figure out where they are because he doesn’t believe they’re dead. 

it was oscar’s idea to put the memorial where the portal had been. it’s taller than a person and shaped like a door. it’s a memorial but it’s also a symbol; the portal is gone, but they were inside it still, we should build our own door so they can find their way home. and then they do, according to the context given. the blacksmith gave them a doorway that went right through their memorial.  ETA: never mind, misremembered

ruby confronting and facing his mortality after running away from it for three volumes to galvanize her to really try to save him vs oscar doing whatever he can think of to somehow save her while roiling in all these complicated painful feelings about how no one cares to know how he’s suffering because it isn’t like there’s any real hope for him. tasty!

[jabberwockprince]

this entire post about the hanahaki disease and eve made me black out for one hour to draw this

EVERYONE SAY THANK YOU TO @smittenroses AND THEIR LOVELY ADDITIONS FOR FUELING THE BRAINROT

some design notes and ideas i had while drawing this in a feverish, dionysian frenzy, i didnt even stop to think i just HAD TO GET THIS OUT OF MY SYSTEM <33

read the linked post for further context bc im working on an EMPTY STOMACH AND A BRAIN FULL OF EVE

i wanted her to be our beloved eve, but a little to the left. yknow. eve but something is off her usual characteristic bright colors ( the blues and yellows and greens she wears ) muted down to a dangerous degree. missing various iconic details like her earrings or hand-holding necklace, etc

something something, she's losing her sense of self while trying to figure out more about this new, hidden side she's just discovered. the side that's causing all the flowers to clog up her throat and all

also also. a subtle feeling of restraint in the way her hair is now a braid that wraps around her throat, also held together by black and white beads. and the hands, a very prominent theme in her art, now holding her chest - but in a "keeping her body together" kinda way, not in a sexy kind of way sadly

OH FUCK. I FORGOT TO ADD IT BUT HER HENNA DESIGNS BEING FLORAL PATTERN.....

read rosie's latest addition to the linked post RIGHT FUCKING NOW because the daffodils and the themes of eve wanting to embody art but not being ready for people to inspect the piece of art she's made out of herself is. is so. YEAH.

also i imagine her jacket is replaced by this daffodil inspired coat that is the MOST eye catching thing. as a way to represent how this obsession with finding out what feelings shes repressing is taking over her entire sense of self

i wanted to add more eye motifs, since eve's art is a lot about her complex relationship with being perceived and also using that same fear as a weapon herself when feeling cornered (yknow. that one moment with zuke where she starts insulting him and saying he's "one of them". yknow. YOU KNOW) but maybe later in a proper design

bUT!!!! you know how in her cover art, the eyes are also different palettes? but once you beat her, they're HER actual eyes crying and closing. i wanted that but. in a much more aggressive way, like she's actively searching for the parts within herself she cannot understand

god i love her i love her so much guys shes so

[m4sonn]

DROP THE RAPPER!CURLY AND SCIENTIST!PONY LORE

Alright guys get ready this is gonna be fire

Ponyboy always wanted to be a writer, we all know that, but as he got older he realized being a writer was most likely not gonna pay the bills and he was honestly convinced curly (his bf) was gonna end up like… sleeping on a bench in a park… so he decided to go with another of his passions, science! It’s his favorite subject other than ELA. He ends up being like… super duper well known and makes a bunch of breakthroughs in his field, he managed to earn himself a Nobel peace prize!! Woohoo!! (He’s also pretty well known for his name and bc he actually publishes the outsiders (it’d be an autobiography in this au) and it’s definitely as famous, if not more famous, as it is in modern days) While pony was going to Harvard on a full science scholarship curly was flunking community college! Originally curly’s major was probably either music, business, or ethnic studies. Well… he flunked out and lived with pony in his apartment off campus. Well.. curly starts up a career in rapping, his raps aren’t about liek fucking bitches or wtv most of the time, usually they’re just about gang violence, growing up on the streets, and if anything his songs have more of a Kendrick Lamar or a redbone type vibe to them, if anything his music is kind of like mozzy. Well… curly definitely goes somewhere, a lot farther than pony thought, he ends up like mega famous. Like genuinely drake level (minus the pedophile stuff >o<). Well…… curly always had his hands in his pockets or he’s just like… slouched in an awkward position so you can’t see his hands, like during interviews he’s definitely just wearing some Nike slides, champion long socks, some non-name brand basketball shorts, a baggy black hoodie, and some beats which he doesn’t take off when people are talking to him. Even though he has money he still chooses to dress like a bum. But I digress. Curly and pony keep their personal life very private, curly honestly could care less but he just goes along with wtv pony wants so he doesn’t talk about pony in interviews or anything because pony’s a bit worried they’ll be less respected if they come out as being gay. Well, one day Curly’s getting interviewed by like… fucken’ Ellen DeGenerous or something I don’t fucking know, but anyways he’s getting interviewed and the woman’s like “so, when are you gonna tie the knot, lock is down with someone? Yknow? Have a family.” (Curly has talked about ‘fucking bitches’ and ‘fucking hoes’ only twice in his music career and when pony asked about it he responded with “Don’t worry babe, you’re the bitches and hoes, you’re the only one I be fucking.” Pony wasn’t sure how to respond to that.) and he was so utterly confused by this, he held up his hand, showing his wedding ring, “what? I’m literally married”. The interviewer was genuinely flabbergasted, “so… err… who’s the lucky lady…?” And he just looks even more confused (mind you this is the most emotion he has ever shown… like… ever in his whole career, curly is generally a very expressionless person.) “who said it was a girl??” The media was ALL OVER him after that, paparazzi and all that jazz. Well, after that, it became the biggest thing on the internet to try and track down who this mystery guy was. After a while the paparazzi found them eating at (I almost doxxed myself by putting a food place that only has one location which is in the city I live in but it’s the best fucking food ive ever had I’m literally frothing at the mouth thinking of their waffles rn.) some random breakfast spot together. Neither of them confirmed it until pony gave curly the ok to post something about it.

Bonuses!!:

Purly but curly makes drake type music and pony makes Lana del Rey type songs!!!

[dickheadcanons]

Your brain is literally gynormous. Do you think Damian's and Dick's relationship is paternal? Because, as someone who has actually had to raise their sibling (do not recommend) it looks more like a guy that had too much in his plate trying to be the best caregiver he could, but not really being a parent, if that makes sense. I feel like the idea of him wanting to adopt him feels like kind of a retcon, couldn't really see it in the og run. But of course, it could be because it's not exactly the same as my experience (abusive father, incapable mother, yknow the drill). What do you think? All your posts are so good.

Also while you're at it, what do you think of Dick as a parent? Some elseworlds have played with the concept, and main continuity did something too with Olivia but T*m Tayl*r fucked that up too. I also wonder how Damian would be as a dad, but I don't think I've ever seen any stories with it.

omg anon thank you and thank you for asking!! this is literally one of my favorite topics!! i was thinking about making a post on this and now you gave me the excuse for it!!

Long story short, I don't think that “parental” is a binary thing. I mean, I know several bio-parents who are just guys with too much on their plates, trying to be the best they can, you know? And people can see parent figures in all kinds of relationships that aren’t blood or traditional moms/dads, especially with people who didn't know each other from birth. There are a million ways to be parented, and a million ways to act as a parent.

The way I think about it is, is Dick Damain's John Grayson? No, I don't think so.

But is Dick Damian's Bruce Wayne? Yes. Totally. Absolutely.

More under the cut bc I have a lot of thoughts.

I think to talk about Dick and Damian, we have to start with Dick and Bruce. So much about Dick and Damian is a reflection of the original Dynamic Duo, and I think that's very much the case with this element as well. From the start of their very long comic history, Dick and Bruce have been dancing around their relationship. We get early comics that say they're "like" father and son, we have Bruce saying he couldn't care about Dick more than if he was Bruce's son, but we also have places where they call each other their best friends, where they act more like brothers, etc etc.

When it comes to who our parents are, I think there is the responsibility, and the result. Certain people have the responsibility, the duty, to be our parents, and sometimes (because death or illness or being shitty people), they aren't able to meet those responsibilities. That never removes the responsibility; they don't stop being the parent. But they aren't able to create the result of us becoming good stable adults. That's where other people can step in, where the parental figure appears, and those are the people that we actually point to when we say "they made me the person I am today."

In fandom, we see a lot of Dick not wanting Bruce to replace his father, of him asking not to be adopted. I think this is a fine characterization that works with who Dick is, but Bruce is actually the one to say that he is not going to replace Dick's father. He says it completely unprompted, too. This is withholding the responsibility of being Dick's parent from Bruce, keeping him at a distance and reserving it as an honor for someone who can't hold it anymore, even as Bruce demands responsibility for literally everything else about Dick.

And I think that it's very telling of what Bruce's idea of a father is. The thing about having a dead parent at a young age is that the person of your parents is still tangled in the role of parent in your life; Mom is mom, not Martha, and because she's dead, the image of both Martha and "mom" is frozen. For Bruce, the relationship of father and son is frozen in the relationship of specifically his father and him. Of course Bruce is not Dick's father; Bruce himself is so different from what his conception of a father is. And as a fellow son, for Bruce, someone who just got back from 7 years abroad studying to be Batman, for whom the nearly 20 year old wound is still fresh, the idea of even wanting another father doesn't make sense, particularly for a boy that Bruce identifies with so hard that he becomes the third person ever to know who Batman is.

This looming memory is even worse when it's Dick's turn to be Batman. While Bruce looks at Dick and sees the memory of his own loss, the shadow of his own grief, Dick is looking at Damian and seeing Bruce. Dick knows very well who Damian lost; Dick is grieving what Damian lost more than Damian is. Bruce couldn't conceive of replacing a father, but Dick is struggling to imagining himself replacing Bruce at his job, much less who he was in his personal relationships.

But even if Damian isn't Dick's responsibility, Dick doesn't hesitate to care about Damian's future. "Who's going to save him if we don't?" At the start of the DickBats era, Dick isn't looking at Damian as a family member, really. He's looking at Damian as a victim, abet a very involved, very dangerous one. It's how Bruce looked at Dick too, before he had any reason to know that this kid would become something more to him. But, like Bruce, what Dick does to save Damian is bring him into the thing that is most precious to him; Batman. The mission. Saving people. A way to live in the world.

I know saying someone is the Batman to their Robin is like, a joke at this point. Something unbelievably cheesy. But you google "iconic duos" and Batman and Robin are one of the first responses. There's a reason for the joke. So imagine you are Robin, and your Batman is dead. And you have to go and find a new partner. Dick making Damian his Robin is heavy, just as heavy to me as adoption papers. Bruce made Dick his partner without any idea of what that meant. Dick, and the audience, had 70 years of expectation on what Dick and Damian could be. Dick making Damian Robin was a very specific claim, far stronger imo than just claiming him as a son would have been.

Because, to be honest (and speak to your other question), I don't think Dick thinks a lot about being a parent. I don't really think it's that important to him. Dick is a leader, a mentor, he deals with a ton of teenagers and kids through his vigilante work, he goes to Tim's sidekick parent's meetings and takes Jason skiing and more than that, he's also young. He's in his 20s. He should be at the club. I think he probably thinks he'll have kids in an abstract way, but it's not something he's looking for, consciously or unconsciously. He's not searching for connection, or to fix his mistakes or his past, the things that lead Bruce to adopting sidekicks. He'd be a great dad, and I think we see him being pretty good with his Elseworlds kids, but Dick is a very practical person, and him taking a kid in (vs finding somewhere else they can go) is not really the practical choice.

Except for one kid. There's just been one kid with legitimately no where else to go, where Dick is truly the only option, because going home meant only bad things for him. Dick made Damian part of his family in the ways that mattered to them both in that moment. With their lives, adoption doesn't really make a huge material difference on custody (if Damian wanted to leave, Dick couldn't have stopped him; Damian has access to basically unlimited money and can feed and clothe and wash himself. and possibly already has a phd.), and Dick wanted Damian to choose, anyway. If I recall correctly, Dick says he didn't think about taking Damian with him until Bruce comes back. He thought about taking Damian with him, thought that Damian might be better with Dick (his partner!!!!) than even with Bruce, his dad, the person Dick loves so much, only in the face of them being separated.

Meanwhile Damian, for all his blustering about how Dick needs to "earn" his respect, warms up to Dick startlingly quickly. For Damian, who had never known a father, who in his initial run hadn't even known his mother for more than two years, whose other male family is Ra’s al Ghul, his father is Batman. Even in Tomasi's kinder depiction of Damian's childhood, Damian only knows the Bat. And when he meets Bruce, the first thing he expresses is disappointment. Bruce the man is underwhelming and then goes and dies. So much for the mythic hero!

And then he meets Dick. Who manages to teach Damian something, who doesn't discount his skills even when he's wrong. Who proves that he is better at being Batman than Damian, and shows that he wants Damian around. And, even more importantly, who doesn't die. Dick is stable in a world constantly in flux. Damian screws up a lot in that run, and he leaves for long stretches of it, but Dick is always there when he gets back. There's no blame here, but the truth is that Dick is the one who stays.

Bruce was Damian's father, but what does that mean to someone whose never met a father at all? Bruce might have tried to connect with Damian before he died, but he doesn’t do it in a way that works. He doesn’t give Damian trust, he doesn’t encourage him in the ways Damian finds important…the first person to do that is Dick. Dick gives Damian responsibility, makes him part of the team. It could be argued that Damian didn’t deserve it, but we’re not talking about deserving. We’re talking about what worked. It sounds like as good an idea as making a tiny 8 year old acrobat a sidekick, but it undeniably worked for both Damian and Dick. Does that mean that either of these relationships were parental in the way that we think of it in the real world, in the way that a child psychologist would say is good and healthy? I have no idea. But they are the most parental in the absence of any other parents, and I think that means a lot.

Unfortunately, we don't get to actually see the dissolution of Dick and Damian's partnership. DC conveniently skips over showing us Bruce coming back and Dick becoming Nightwing again; preNew 52, Dick is still Batman with Damian even when Bruce returns, and in the New 52, he's been Batman "Before" and we don't really see the end, just a vague aftermath. But if it did take that kind of change to make them realize their relationship had a flavor of "parent and child", had the makings of something like a father and son, well, they'd just be following in the original Batman's footprints.

[isa-ghost]

was reading through your q!phil hc masterpost and was wondering if you could add any of your codebreakers/etoilza headcanons into the fray…? :3

YESSSS I CAN'T BELIEVE IT TOOK THIS LONG TO GET ASKED /LH

qPhil headcanons masterlist

RESTATES for my and your convenience (heads up, there are a few suggestive/mildly explicit mentions!!):

--He's FWB with Etoiles. Extremely QPR, Etoiles is an aro king --He and Phil started out as friends and that has Barely changed if at all, but sparring matches get a little too homoerotic sometimes and neither of them can resist the other when they're popping off extra hard. Things have. Escalated a few times. If yknow what I mean. Of all Phil's harem members polycule partners, he & Etoiles have absolutely ZERO emotional investment in the Spicy(tm) things they do together. It's simply a very intimate way of showing each other their respect & admiration for the other. What they have going on is a "*spanks you* good game, let's hit the showers team" kinda deal. They're the type of mfs to finish in bed then shake hands like "gg." Casual sex is >>>> to these two, but it happens waaay less between them than it did Phil & Fit, Fitza was habitual (pre-Pac). Codebreakers is a once in a while thing --Etoiles has 100% asked Phil who fucks the best out of the polycule bc like everything else, it's a competition & he Must win, he Must have the best dick game. This amuses Phil very much --Phil is attracted to Etoiles the same way he's attracted to Fit, HOWEVER, the reasoning is different. Etoiles has raw skill and talent, but it's the way he wields it and demonstrates it that makes Phil wanna act up. Also Etoiles is fucking hilarious. Who can resist a good sense of humor? Those dramatics make Phil swoon --Etoiles is one of the people who is best at catching Phil's Tells for when something is wrong --Etoiles is one of few people who can convince (or goad) Phil into doing something he normally wouldn't, especially if he's drunk --Speaking of Phil being drunk around Etoiles, the way he can still absolutely body someone or snipe smth from miles away makes Etoiles want to kiss him stupid --Etoiles left a scar on Phil's back during Purgatory when he killed him Day 1. Phil didn't know for the longest time, but it took him a while to show him his wings after that. --Phil was genuinely afraid of Etoiles (& Fit) for a while after Purgatory --Sometimes Phil's laughs and startled yelps sound almost like squawks. Also his hiccups. It's very rare, but whenever it happens, he gets teased for it. Especially by Etoiles. --Phil goes back and forth on gifting one of his shed feathers to Etoiles --Technically all of the Polycule vs Ender King hcs apply to Etoiles in some way --Phil could listen to Etoiles teach him about French culture for hours

And now the new stuff :D

Etoiles's dramatics can get Phil in tears laughing. His sides and stomach will hurt before it's over, and Etoiles can go on for MINUTES. Sometimes he'll keep going purely because it has Phil dying so hard and he loves seeing what a kick Phil gets out of it

Etoiles is (playfully) salty that Phil is such a My Kids Come First kinda guy bc GOD does he want Phil to be down to do dangerous pvp and dungeon busting shit without the "euuu we gotta make sure it's safe" aspect more often. He wants that Angel of Death. Etoiles is the #1 Dadza (Derogatory) islander /lh

See, Fitza is more explicit and deadass about their,, Time together. Codebreakers is more subtle. Yknow that "media literacy is knowing when something that isn't gay sex is gay sex" post? That's Codebreakers. Sparring, dungeon busting, whatever high-risk high-exertion thing they're doing together. That.

It should go without saying how down Etoiles would be to throw hands with Ender King. It would be the most exhilarating fight he's ever had

Phil's still lowkey lost about the whole resistance thing. And schedules lately have not been kind to the two of them, so he hasn't had a chance to talk about it with Etoiles as extensively about it as he'd like to

Btw he's secretly concerned as hell smth bad is gonna happen to Etoiles if more of his body becomes corrupted by code :)

They 100% refer back to the time Etoiles said this regularly, and similar things like it. The same can be said for Fitza but my god the extent to which these two are more than willing to kill for each other. OUGH.

Phil does not realize how much pent up stress and emotion he can vent out via sparring or hitting something really fucking hard. Etoiles is going to fix that one day.

Phil's Etoiles impression has made Etoiles attempt to learn how to mimic Phil in retaliation but he cannot for the life of him get the hang of Phil's fuckass accent. Geordies stay winning to this man's dismay

Etoiles is frustratingly yet fascinatingly hard for Phil to clock sometimes. It's difficult to gauge exactly how he's feeling or what he's thinking. And yet as inconvenient that can be sometimes, something about it is incredibly attractive to Phil at the same time. Which is funny because unpredictability is usually not something his survivalist brain would like. Something about how he trusts Etoiles and therefore his being a wildcard is not so scary,,

Etoiles 🤝🏻 Chayanne - Wanting Phil to take them on a flight

I don't know if I'd call Etoiles an anarchist the same way I would Phil, but either way he is SO DOWN to fuck with the Feds if it entails any kind of pvp or the need to be geared up

Ok listen I have to call back to the gay sex subtext thing. Things that are more sex than gay sex to Codebreakers: Sparring, adrenaline, battles of wit, flexing powerful gear, thinking too much about what an absolute potential killing machine the other is, watching one another be in The Zone during a fight

Phil has more physical strength than skill with weapons and Etoiles has more skill with weapons than physical strength. Ok now imagine that while they're in a 2v# fight

I would not put it past Etoiles to pull a Missa and say smth wildly out of pocket and suggestive so fast in French that Phil doesn't catch it.

[arrowheadedbitch]

Okay, I just spent, like over two hours talking about how a Leanna Firestone song (Tourniquet) is perfect for Shawn and I'll be damned if I don't make a post out of it so here we go, buckle up

Okay first of all, here's the song

Enjoy, it is VERY good

So let's get into this, yeah?

This includes my suicide attempt hc that I mentioned in a previous post in it

I have been listening to this song on loop and it's making me go just a touch feral

"You can get a new car, but you can't forget the way it sounds or feels to crash

High speed impact

Normally the first person I'd call was my dad"

But im imagining that hc/story we were talking about yesterday, so change the words tooooo.....🥁🥁🥁

"You can get a new car, but you can't forget the way it sounds or feels to crash

High speed impact

ALL BECAUSE THE FIRST PERSON I callED was my dad" AUDHDBJEHEJSJDJEJ

But, later on, I realised that the song ACTUALLY says "NO POLICE, the first person I called was my dad" NOT normally, which hits different in this context but doesn't actually change much

And like, him yelling it in front of everyoneeeee

Henry is THERE

They're all like....what do you mean by that...

He will not elaborate but now they know that apparently something bad happened to him because he called his dad?

"Shawn, what are you talking about"

Shawn does the dramatic "I said something I shouldn't have" hand over mouth clasp

He freezes, he stumbles over his words, then he makes a run for it

Everyone is just standing there confused as hell

It's such a not shawn thing to yell out and do tho that even Henry is slightly concerned

Or maybe just confused

Or offended at the implication that he somehow hurt shawn so bad with some random phonecall

And now there are a bunch of people needling him to tell them about wtf he was talking about

Pressuring him to tell them about this traumatic event

ESPECIALLY Gus, who would normally be in the loop about something like this so he's extremely concerned and maybe even a little hurt that Shawn won't tell him

Even Henry, who usually doesn't give a shit about this kind of thing, is trying to get it out of him

He mostly just wants to know what the hell shawn is blaming him for this time lol

But he doesn't get how serious this is

None of them do, that's why they keep trying to get it out of him

They just assume it's another one of those silly things he always has going on, not, yknow....SUICIDE

Not even his mom knows, maybe they'd try to call his mom bc he tells her pretty much everything and find out she ALSO doesn't know

Then they're like....Gus doesn't know......his mom doesn't know.....holy shit maybe this is serious

"Some people die before they're dead!

Building collapse, pressure outweighs the pain

I don't feel sad

I don't feel ANYTHING

Only will when the blood returns

But I'd rather be numb then know how bad I'm hurt"

Someone save my boy

He is emotionally constipated

His mom also might fly down to figure out what's happening after she gets that call

So now literally EVERYONE is bugging him about this

Poor Shawn, there's even a THERAPIST needling him about this traumatic event now 😭😭😭

And everybody wants to know

At this pace he's gonna become a hermit so he doesn't have to tell anyone 😭😭😭😭

"So, I'll keep the tourniquet on

I'll block it out and off

Cuz I don't need anyone

I don't need anyone

I don't need anyone at all

If I keep the tourniquet on"

I think all of this would lead to Shawn blowing up on then, maybe he'd say something that accidentally gives away more of what happened but I don't think he'll be able to bring himself to actually say out loud what happened, at least not to them

Because, well, emotional constipation, anyone?

He wouldn't talk about his feelings at gun point

"Maybe we always start

Back where we end

Don't know if I'm God

Or if I'm sisyphus"

But maybe change to

"I try to act like God

But I'm just sisyphus"

Or something similar

Now, to get into a SECOND POINT ABOUT THE SAME SONG HAHA!

So, this first part has been about Shawn saying the stuff in the song or just really good lines that he would relate to

But this next part is more of an....application for all of this

Imagine with me, if you will

Shawn does a few artsy stuff like....drawing that he doesn't really like to show off a lot, so imagine this,

/Shawn would totally be a good songwriter/

Imagine he wrote a few songs as more of like journal/vent things and he never wants them to see the light of day

This is while him and Jules are together btw

So, Juliet finds out about the songs, he tries to brush them off bc he doesn't like to think about them and he doesn't want her to see them, that kind of thing, but she reads it as insecurity

This is the same woman who went around Lassies back to plan him a birthday party and accidentally invited a bunch of criminals, so, I don't think it's that big a stretch that she would try to do something to make him feel better about his music and go behind his back a little to do it so she can *surprise* him

She grabs the first complete song she can get her hands on, maybe glances through it but makes the mistake of not reading it thoroughly and submits it to a song writing competition, if it loses, Shawn will never know, if it wins, boom! Boost in his self esteem about his songs!

A win-win plan, really

And the song she grabbed was the Shawn version of Tourniquet we've been talking about, obviously

Yeah, it's *her* turn to do something for *him* with good intentions that ends up being awful, she's not gonna be in the doghouse for this one...she's going straight to the pound

The prize for winning the contest? Well, a celebrity sings it of course!

And...well Juliet may have overlooked that it's sung.....on live television...

All classic song writing prizes, maybe you can win a record deal and a bunch of money too or whatever

Not that Shawn would care about any of that

Anyways, her and Shawn go to the place where they're announcing the winners, you know? Big party. Shawn doesn't know what it's about but he's having fun, probably solving a case here too!

But then he wins....

It's the big finale, announce the winner and sing the song on stage and on camera

"And, this song will be our grand finale! The winning song of the song writing contest will be revealed and sung!" So the singer gets on stage and Shawn is all smiles until he hears "And this song is...🥁🥁🥁 Tourniquet by Shawn Spencer!"

And Shawn is going through all the stages of grief, he turns to Jules all "What the fuck did you do" (Perhaps first time she hears him legit cuss??) [Ty Luka]

And suddenly Juliet realises that she should have read the lyrics a bit closer before submitting it

It's the first time she's seen him ANGRY because he is about to get angry

They get in an argument, Shawn storms off, she feels bad

But, the song was on LIVE TELEVISION

Everyone saw it! Everyone HEARD them attribute it to him!

And they don't know he wasn't in on it! They have no reason to believe he's upset about winning!

So, when he shows up at the station, everyone is trying to talk to him about it!

It's AWFUL

Gus is asking about it, but he stopped pretty quick when he noticed how pissed Shawn seemed about it

Henry's been calling him

He's been not answering, obviously

Juliet tries to talk it out with shawn but he's not having it right now, "Shawn, I-"

"You, shut up, you are in the /pound/!"

"*gasp* the pound?"🥺😢

"THE POUND"

And Lassie was gonna give him a hard time and ask questions but he saw that interaction and realised that he shouldn't touch this with a five foot fucking pole

The precinct feels oddly tense today because well....no one's ever seen SHAWN SPENCER so ANGRY

Or really angry at all

He really powers through solving this case and is actually pretty scary the whole time and he won't talk to Jules, they are not in speaking terms right now

Anything that he would normally go to Jules about, he goes to Carlton and acts like she's not even there while he gets Lassiter to do whatever it is he needs

No fun nicknames either, but what really hits? When he HAS to address jules.....he calls her Detective O'hara

So she REALLY knows she's in trouble

Obviously she's gonna do anything she can to make it better, we know Jules

So she asks around for advice on what she should do

Talks to anyone who will listen really, Lassie, Gus, she even goes to Henry

[Side note, I've been imagining she heard the song, like it was playing all throughout so they could hear it a little muffled from the spot they were arguing at, but she probably missed a good chunk because of the arguing and talking, though her not having heard it would be a really interesting turn to take! She doesn't know what was wrong with the song, only the aftermath, that could be interesting]

Anyway, she gets mostly the same advice, let Shawn cool down and then work it out

But, since she talked to Henry, he now knows that not only did Shawn not submit that song, he's pissed that it played at all

Which will affect the way he treats Shawn when they inevitably talk later

Instead of thinking Shawn did this to get back at him, he knows these were private thoughts that were shared against his will, so he'll be a little less defensive and accusatory

Gus doesn't know what exactly the song was about, but he gets to be the most in the know since he's the only person Shawn is really actually talking to right now

A lot of ranting to Gus about this, of course

Lassie has the least know of the situation because an angry shawn is a startlingly untalkative shawn

Shawn takes a week or two to stop being so completely pissed

He talks to Henry at some point, they probably have a moment or something, but he won't tell anyone what the song was meant to be about

Eventually he calms down enough to let Jules talk to him again and she gets to apologize profusely and work her way off the shit list

And now everyone knows about the depth to shawns character that he didn't want them to know about so he'll just have to slowly chip away at that by going back to being the town idiot as usual

Maybe he agrees to sell his songs as long as his name doesn't go on any of them, I dunno

Everything goes back to normal...eventually, but it takes...a while

So shawn ends it just as emotionally constipated as before but now everyone KNOWS he's emotionally constipated

Everyone gets to go "holy shit, this kid actually has emotional depth?!?!??"

And Henry gets to sit and wonder what he did to Shawn that was a "crash", what phone call? What did he do?

And Yeah, most of them forget probably

But also, there's that inkling of.......is he really okay?

Always in the back of his friends minds

Because

They /heard/ the song

Juliet goes over board trying to make up for it in a way that's so endearing shawn can't help but smile

And forgive her, but only after the third pineapple/hj

Gus is a little concerned but he knows Shawn doesn't want to talk about it so he let's it go

Lassie tries not to pry but he's still feeling kind of awkward about it (what is he supposed to do in this situation? Anything? Should he even care? Should be be on O'Hara's side because they're friends? Shawn's side because he was the one wronged? Anyone's side at all? Should he say something? Welp, he just won't do anything, maybe)

Buzz has no idea what's going on but did try to comfort Shawn a few times and it was sweet

Buzz never knows what's going on with the main four but we love him anyway

Henry has the song on loop trying to figure out what he did and if there's something he should do or say about it

And someone should definitely get Shawn a therapist but they don't

And the whole song is soooooo about his dad

So about his dad it hurts

Tho Gus is a little offended at the "I don't need anyone" part and he makes sure his thoughts on that are known

"I spend every night

With the TV on

I can't bear to be

Alone with my own thoughts"

And now you guys won't be able to stop thinking about this either, MUAHAHAHAHA

To the people who talked to me on discord, thank you!

@mores0 @storm-cloud-lightning

And also @j-snapdragon who joined right at the end

[nyaagolor]

Howdy again, if it's the meta world VS "real world" thing in Umineko that's got you stumbling, don't worry. The assumption Ryukishi and co. seem to be going with is that the meta world IS real, and everyone's just chilling in a happy magic afterlife post-series (hence how episodes 7, 8, and 9 can even happen). The "07th Expansion All Characters Settings Collection" guidebook even has little epilogue blurbs for the cast, I can link you the translation hosted on the wiki if you want. It's still bleak in the sense that, yknow, everyone was dead from the start and the whole journey was more of a "coming to terms with what happened" kind of deal, but I think it works given stuff like the Divine Comedy references going on (if you read Battler as Dante and Beatrice as uh, Beatrice, a lot of Umineko'll start to make sense). The way I see the split is kind of an "as above, so below" type deal - while Tohya is down in the land of the living trying to write and solve things, Battler and friends really are up there fighting for their lives in purgatory, and the two reflect each other. Of course if that's not the problem you have, I'd love to hear what you're thinking!

hiii thank u for the ask!! (sorry this will be a Long One). I'll admit the meta world / real world stuff tripped me up at first, because looking at episodes 4 and 8 it really seemed to be implying that the metanarrative was the coping mechanism of Ange+Tohya and their way of pretending like their loved ones got the happy endings they didn't get in life rather than something we can actually assume happened. However extra content implies this is not the case, Ryukishi doesn't feel like the author who would do that especially after the thesis of Higurashi, and tbh even if he did there was enough plausible deniability that I would just imagine the Golden Land as real because You Gotta Cope Somehow. I love the "as above so below" vibes too, that's a fun new aspect to incorporate

My biggest hangup with the ending was basically in the idea that Sayo's narrative is fundamentally doomed. I was under the impression that the boat scene was implying that Sayo couldn't be happy even if she did escape due to the burden of the truth / her trauma. The positive framing of the catbox remaining at the bottom of the ocean initially struck me as a "her death is the happiest ending you can hope for because of how fucked up this all is" which is already a nihilistic narrative but downright unbearable when given to an intersex trans woman. I just don't vibe with hopeless trans narratives at all, and felt like I had misinterpreted smth bc Ryukishi isn't really a nihilistic guy. I'll admit I got a little soured to the narrative as a whole when I looked around online and saw people talking about how Sayo getting a happy ending was "missing the point".

After talking to @heartgold I realized that I had reversed the causality a bit. I was under the impression while playing that Ryukishi's insistence that "things had to happen this way" was him not just saying "oh everyone is already dead, the end result is already the same bc we're looking back at past events" but also "it doesn't matter what individual actions people took, it was always going to end in tragedy". I realize now it's more of a "this was totally preventable in so many ways but it already happened and now we have to grieve and cope in whatever way we can manage" kinda thing rather than a "this is fate and Sayo was screwed regardless", so I'm cool with that aspect. (Also I won't lie I prefer to imagine the boat scene as almost entirely metaphorical and more of a representation of the fragmentation of Battler's consciousness due to trauma in a similar way as what happened to Sayo, but that's neither here nor there)

The other part of it, and the thing I'm still really hung up on, is the question of whether or not the Golden Land is actually a happy ending and, if it is real, whether we're supposed to view it as a sorta perverse tragedy. On one hand, the alters are all implied to be separate people and they get their happy endings (yay), but on the other hand that doesn't really fix nor address Sayo feeling like she needs romantic love to be fulfilled (also The Incest(?) I'm genuinely unsure if the whole "alters becoming separate entities" negates the incest or not). The idea that Sayo was so far gone that even the fantasy created from her best memories does not allow her to truly be happy is just so insanely depressing to me, so I find myself stuck with that friction of wanting Sayo to have her prince and her white horse and her fantasy happy ending while also not wanting to downplay the truth. Having this little moral dilemma feels like the point of Episode 8 and really gets us into Tohya's head, which is awesome, but also gives me a lot of mixed feelings. Knowing that Sayo's truth literally has Beatrice married to Battler makes it even tougher bc I can't just use plausible deniability and say they're platonic bc they are uh. very much not as far as Ryukishi is concerned. I'm still working out my feelings on it, mostly because I desperately want Sayo to have everything she's ever wanted but also having to contend with the little part of me that's whispering "it can't and shouldn't happen and you know it". Alas. Umineko.

PS: thank you for telling me about the character booklet, that's SO cute!!! I love the little details about everyone and the cat-ear Bern is everything I've ever wanted

[aroaceleovaldez]

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

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

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

As said before (and what is a given):

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

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

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

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

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

Further notes: 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Footnotes:

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

[ashoss]

I have some ideas regards PJO x DC

Steph and Tim:

I love the idea of Tim or Steph being mortal and struggling to feel of any value when their predecessors were the kids of gods.

But like it only works if one of them is Mortal because I feel like Tim won’t feel out of place for long enough before Steph comes around to maximise angst potential (if my understanding of the timeline is correct) And Steph probs wouldn’t feel inferior mortality wise if Tim is also Mortal.

Like it’s gottta be one or the other if you get what I’m saying.

Duke:

I love the idea that Duke is mortal but still a Meta so he doesn’t feel as out of place with his powers because it’s normal in the world of Gods and maybe as a result the kids know how to help him. But he has to adjust to the idea that they exist and some of the bad guys they fight that may look like mob members aren’t they’re monsters and at first he can’t see that but then eventually he learns to see through the mist using his powers somehow.

Babs:

I love mortal Babs who just stubborns her way into the family business. I think it really helps to establish her determination.

Bruce:

I have the idea that Bruce is a legacy and thus clear sighted and that’s part of why he became Batman. Because he saw all these horrible monsters that most people don’t know are there and he couldn’t stand the thought of demigod children being forced to fight against them before some of them even have any training. Thus the Batman deals with his regular real world threats like the joker and the mob while also killing what monsters he can to make the world just a little bit safer for the demigod children out there

yeah i was thinking abt mortal tim and steph- it would absolutely be fantastic for the angst angle- tim feeling as if hes not as good as dick and jason who are demigods. mortal steph would also be interesting and i was also considering it just because i cant really find a parent that fits her. her being mortal would also add to her angst aspect, feeling like shes not good enough for the batfam because theyre all powerful, etc etc…

duke i do want to not be involved in the greek world at first. him as just a regular meta would also play into how different he is from the other bats normally- the only meta, the daytime bat, yknow. it would be really interesting to see how his powers could also affect his understanding of the greek stuff, how he could potentially see through the mist a bit, even if not a lot. i made a post on how he might be more affected by the godly aspects of them, how he may see their eyes as being a bit too… inhuman and how their veins seem to be a bit too gold (also how if he ever were to run into a god he might see them brighter than anyone else does.) just a lot of good stuff to consider with duke.

babs i def want to be mortal. she starts off as mortal- clearsighted or not, and then learns about everything via dick or bruce. im thinking post TKJ, after she takes on oracle she might get a visit from apollo who gives her something, unsure what. so yeah mortal babs with a blessing from apollo.

and yeah, bruce is either a clearsighted mortal, a mortal who learned abt the greek world (whether it be thru diana or somewhere else) and made himself see thru the mist, or a legacy. and yes should deal with both the regular criminals and monsters. im thinking wayne manor could be a safeplace for some demigods in gotham. idk bruce is a demigod magnet.

(it could also be interesting to explore alfreds role in this- ive seen some stuff for hestie son/devotee alfred, or satyr alfred- and i think having him be some sort of magic could be intriguing. he could potentially set of the same kind of forcefield around wayne manor to keep monsters out. might be worth looking into hecate kid alfred?)