This is a crazy drabble request. I love stirring the yandere pot unfortunately. Basically Yan Higuruma and Yan Nanami did something bad to Necro. They destroyed a sentimental item from her days as a necromancer and she was so hurt emotionally they ran to one of the "safe" adults she knew which is Shoko or Kusakabe. She refuses to see them and I am curious how they will handle it and try to get Necro's forgiveness
ANGST TIMEEEEE!!!
Platonic Yandere Nanami/ Higuruma x Necro! Reader: you'll be Back.
She had forced their hand.
It was her fault that this happened, not them.
What else were they supposed to do? When she had done nothing but disrespect them day and night? When she had tried to leave their side when all they wanted was to help her? save her! and yet she had the audacity, the courage to make them see themselves as the bad guys....
is what they both repeated to themselves while their home was in an unusual state of tranquility, whether for better or worse, the house always had some type of noise (laughter, chatter, crying, shouting...) but For some time now the disturbing sensation was replaced by tension.
Both Kento and Higuruma were fighting so hard not to explode at each other, not to let all that repressed anger come out and continue to maintain the calm man façade, but it was extremely difficult without the only thing that normally held them together.
reader.
who had recently fled, and to make matters worse, it seemed that he was constantly changing locations in order to avoid them and not see them (with good reasons that they did not understand) with people whom they had to put up with for the sake of their relationship with their daughter.
But it was already taking its toll on them, they couldn't live like that.
how did they come to this?
They were aware that the nature of their relationship with Reader was not healthy, normal, or even good for any of them, but despite everything they had done to her, Reader returned to them, and they could not live without her. It was a vicious circle.
but it seems that the reader underestimated the nosibity and how far the jealousy of the two psychopaths with whom she shared a roof could go.
It was simply an ancient gadget, given to them by their original parents, perhaps that's why both Kento and Higuruma had some animosity towards it, but they didn't do anything especially questionable...until one day a fight escalated and became especially hectic.
The reader wanted to believe, she really wanted to believe that it hadn't been on purpose, that it had been an honest mistake and that they would apologize to her in some way. but said apology never came, and they acted as if nothing had happened, like when she threw a "tantrum" they ignored her screams, it was exactly the same, but she thought it would be different...
and the only thing she received was a hardened look and a "we are the only family you need, everything else is worthless" from those who had stolen her from said life in the first place..
It was too much...
and deep down Nanami and Higuruma knew it.
They knew that what they had done was wrong, of the damage it caused, that they had to refrain from going after the reader and trying to help her collect the remains of her relic, that they would have liked to have done it another way, but they were so closed to each other that They couldn't even begin to describe that...
and now there was the question of what they would do to get the reader back, there had to be a way, but it would be almost impossible with people like Kusakabe or Shoko around, they couldn't risk losing this opportunity, not again, not now.
They were both sides of the same coin, two opposite extremes, but they couldn't live without it. Without HER.
They need him, they hated each other, she hated them, deep down, they KNEW it.
They knew that the reader would surely be better off with the safe adults who generated so much rejection, they knew that the reader would be a better sorceress than either of them could become if they let her. They knew she had so much potential, a possible life and future ahead of her AND THEY DIDN'T CARE!
No matter how many times they said or convinced themselves that this time would be different, it wasn't, because they would never let her be happy with someone other than them.
They were monsters, but they managed to forget that with the reader. and that was the only thing that mattered.
If others have to suffer, if SHE has to suffer, then so be it. They are going to be selfish. As many times as it takes to be happy, they WILL be selfish.
Until then they would have to find some kind of comfort and guidance in the overwhelming silence of the house, a silence that they themselves brought. while they dreamed of what would be the beautiful melody of a home again.
It was the only thing they had in common after all...
Shares, reblogs and comments are very welcome!
I'll try to make some Requests AND indulge in My Hades hyperfaction for now. Ok? Ok
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Listen, I love Fiddlestan as much as the next guy, but where did we start getting the idea Ford was cold and dismissive towards Fidds during their time working on the portal???
I could totally be wrong because I haven't read every single GF related thing (hell, my journals aren't decoded because I'm a slacker), but like??? The first time he saw him, he bought him his favorite snacks *and* a whole ass banjo and said he'd make it his mission that Fiddleford would be comfortable in his home.
They go adventuring together and talk about things like fashion trends and the future and go stargazing.
Ford is *so* happy when Fiddleford returns that he hugs him immediately. Abd then he feels bad that Fiddleford feels bad about his failing marriage that he throws him a holiday party even though he doesn't celebrate and hates the holidays honestly. And he put on Fiddlefords favorite song (which he despises and honestly? ME TOO FORD. I HAVE BEEF WITH THAT SONG) and drank seemingly spiked eggnog with him despite not usually liking to drink. So that he could make Fiddleford feel better.
He also just openly adores everything Fiddleford does. Maybe it's only in his journals. You could argue he doesn't say it out loud but, like, he exclusively describes him as impressive all of the time-
And I get where it's coming from in like a "oh he's a workaholic who has the pressure of Bill breathing down his neck that he has to be working on the portal 24/7." And like yeah, but in the pages he's a workaholic he's a workaholic practically begging Fiddleford to stay up with him because he loves working along side him. Fiddleford and him work *together.*
Like the page where they're sorta fighting with each other because Ford wants to work more its not "leave me alone Fiddleford, I have to do this" it's "hey! How come you won't stay up with me! Ugh this is so unfair that you're going to bed even though you know I plan to continue working for another hour."
I'm just saying if Fiddleford wanted to cuddle, I imagine Ford's response would be "Oh! Awesome, I love spending time with him 🥰🥰🥰" but he'd just end up using Fidds' back as a table for his studies. Or they'd do that thing where one of them is working on a desk and they sit on one chair in each other's arms.
And, while we're here, realistically? Emotionally stunted, slapped by more women than He's dated, "I can't cry in front of people, and the only thing I'm good for is my fists." Stanley Pines??? He's not cuddling shit. He's got that toxic masculinity ingrained into him. It doesn't matter how incredibly touch starved he is, cuddling is too emotionally intimate and "girly" for him. Honestly if Fiddleford tried to cuddle him he'd probably throw him in a headlock because he's also been on the streets for years now with people constantly trying to attack him.
And I'm not saying this to diss on Fiddlestan. Again, I *like* Fiddlestan! But when I read "Ford could never appreciate him like Stan could" I don't understand it.
They so clearly bonded well together, and if Ford truly was being an asshole (or not an asshole, but just generally unpleasant even when he wasn't possessed) the whole time, I doubt Fiddleford would've stayed. Nostalgia and physical attraction can only get you so far, and Fidds is already facing the horrors in Gravity Falls, Stanford has to be a hell of an amazing person to make someone want to stay. Like, he's a grown adult. Sure he really wanted to impress Ford and allotted himself to be "the tech guy to Ford's smarts" but if he wanted to leave, he could've. And there didn't seem to much keeping him there. Especially when he was having doubts on the portal.
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Thoughts about Heroes of Olympus and how it could have been better.
Sometimes I think about what would have made HOO a better series. And I'm not talking about the obvious 'too much focus on romantic relationships' and the lack of usage of certain characters or the dumb ending.
I mean the little things that would change so much (mainly character dynamics but also worldbuilding i.e. Camp Jupiter and Gaia's reasoning)
Some of the points are inspired by @crisisreading and their posts. They are the first I saw raise some of my own points so! part 2
Make the ages vary more in the main cast, trust me
Let Percy, Annabeth and Grover get older by 4-5 years. Let them become adults and find themselves outside the godly war. Let them even finish college, I wouldn't get mad. Let them do anything beside being teenagers.
I promise this would make the dynamics more interesting. Percy and Annabeth will be more mentor figures, than fellow comrades. This would create some distance between some of the them, but ultimately create something fun. Piper would come to see some aspiring female figure in Annabeth (I think this would ether be positive or negative, depending how Annabeth changed as a character over the years, but I tend towards negative). Leo would potentially have someone older to exchange ideas with. Jason would possibly feel intimidated by Percy's vastly superior age, prowess and experience, instead of being able to clash heads with him.
Hazel would have not one, but two that people that would play parent to the others' reckless behavior. (go snort your harmful stereotypes up your ass, Riordan.) Frank, when telling Percy and Hazel about his stick, would possibly find in Percy a kind hand (not that he wasn't kind already, let me explain) and Percy would probably share with him this feeling of vulnerability - not dump it on Frank - about having your life tied to a specific thing. I mean his Achilles heel, with which he would have lived for far longer.
And a whole lot more.
2. Add Grover into the series as a perspective character
You have a new trio dynamic introduced in the first book of the series. Let the original trio interact as main characters and let us see how their relationship has changed.
Grover's opinion on the conflict between the gods and Gaia would be important. He is the Lord of the Wild, and Gaia is the literal personification of the Earth. Let us see his struggle between the loyalty he has to the gods and his friends and his powerful feelings towards protecting nature.
Also, he would act as a protector for the demigods. Because while I enjoy Hedge, he is not enough to keep them safe.
3. Throw the bullshit about Gaia getting revenge for Kronos' defeat out of the way
Gaia, as mentioned before, if the personification of the Earth. One of the first gods to emerge from Chaos.
Gaia can, of course, keep her resentment for the gods defeating the son that freed her from her pain (caused by Ouranos initially). But she is a mother goddess. She should want obliterate humanity because humans are slowly killing her. Painfully. She wants to survive and the only way she sees how if by killing all the humans. She wants to save her children, aka animals, insects, nature, and the only way she sees is bloodshed. Gods are not rational in their anger, no one is. So let her be angry and vengeful and out for human blood.
DO NOT MAKE HER A FUCKING VILLAIN, MAN! Make her an antagonist, but someone's whose ideals are worth taking in and adapting. Kinda like Luke about the demigod and minor god recognition. Where have the themes of the original series gone? Remember, an important theme in BOTL was protecting the environment. It was one of the most important moments when Pan faded. Do not let that go to fucking waste. Especially not now, in the world we live in.
4. Show the effects the war had on Camp Half-Blood. Hint it at Camp Jupiter, when Percy does not have the memories to corelate it with
We've had years since the end of the Second Titan War. How did the gods change the course of events ? (the victors write the histories) How much of Luke's reasoning for starting the war was erased. (hint, all of it.) Show us how much the perspectives were shifted and how much the people that fought in it were made into martyrs and villain, basically becoming caricatures.
Let us feel how much this hurts Percy, Grover and Annabeth. How it had impacted and impacts their trauma, grief and utter horror. The younger, newer campers see them as wonderful, all-just and loyal heroes of the gods. The way they hate it.
Good moment to implement the new cabins for the gods and let the new ones forget that it wasn't always this way. Let Percy's demand to the gods be forgotten, shoved under the rug. The tragedy unfolds, use it.
Since in Camp Jupiter none of the main characters have fought, let us see the subtility. Let the older legionnaires be ragged, scarred. Older and weary, with eyes glassy and suspicious. Have younger recruits have this heavy air around them. They know what happened, what killed most of the older people in the legion.
Have Jason, Hazel and Frank see these things in Annabeth, Grover and Percy too. They realise that oh. oh. these three have fought in the war, of course they would. Show them gain respect for the trio. The same kind of respect they have for the veterans back home.
5. Cut one of the Seven from the prophecy.
I know this seems radical, but it is a symbolism thing, which I think would be more interesting in a world based on Greek mythology.
It is established in PJO that three (3) is an important number: 3 Olympian sisters (Hera, Demeter, Hestia), 3 Olympian brothers (Hades, Poseidon, Zeus), 3 Fates, 3 quest members, 3 Furies, 3 godly realms (the Underworld, Olympus + the sky, the seas). Use this.
Give us six (6) prophesized heroes. It is, after all, the second most used number in the series and a multiple of 3.
I suggest Annabeth. Why? because she has her quest from Athena. Let that be her top priority, while hanging out on the Argo II to get to Rome. Let her bond with the younger demigods and have her possible death be always on her mind. Bring her hubris into play and she would think herself the chosen one, the one demigod child of Athena to survive. This would make her falling into Tartarus with Percy not letting her go more taxing on her psyche.
Show us how she hates herself because she took one of the principal quest members to certain death. She feels like she'd jeopardized the whole saving the world thing.
Cut the Seven to Six and let Annabeth die in Tartarus. Show us why a single-man quest is a death sentence. Why three (3) is such a valuable number.
6. CONSEQUENCES!!!
Jumping straight off the last point.
Change why Annabeth would end up in Tartarus. Make her ignore the string around her ankle because she thing that nothing bad can happen to her now. After all, Arachne is gone, right.
Let this be her undoing. I do not care how she dies, but make her choices, her hubris, be her undoing. Do not let her death up to a chance, a mistake or miscalculation. Show how toxic Tartarus is, because we do not see it enough, but make it Annabeth's idea, the plan by which she dies.
Do not make it Percy's fault. Let him try to do everything to keep her alive, but still failing. Attack his sense of loyalty, his self-esteem. Show how the experiences and her death affect him.
Bring the trauma from the last war back in those chapters, in a place where demigods leave something behind.
To less drastic things - let the others get hurt. Permanently. Show how this life affects and damages people physically, too.
Have one lose an eye, another get horrific scars. Lose a limb, a part of themselves. Do not make it seem like any other could have gotten the same wound.
Tailor them to their character, their pride and their skill. Hit them where it hurts most and let us see how it changes them.
Also, about Leo. Kill him too. The fact that he ended up alive is a deux ex machina. He should have suffered the consequences.
Also also, bring back the fatal flaws. They are missing from the series. Play with them, show why they are important parts of their characters. Bring back ancient Greek fatal flaws, and new ones that make sense in a modern world.
Hurt them because what hurts them is part of who they are. Show us why the Greeks invented tragedy.
7. Age up the target age. Go more young/new adult
I understand that PJO was made for middle schoolers. But the target audience had grown up alongside the characters, and as such they have matured.
This is why I said to age Percy, Grover and Annabeth up further. Leave some distance for the old and new readers to get up and personal with the new main characters. Have them find common ground with the new demigods but have their anchor in the old ones.
Make the readers work to understand and refamiliarize themselves wit the older demigods. Because they've changed.
Targeting a more mature audience allows exploring n. 6. The realistic consequences of living with the fear that something will come and eat you. How just a little mishap could change you for life. (or what has been left of it)
Please do not go grim dark. Show that despite this all, their purpose has not stopped existing. A life exists outside of your appearance or disability still exist, and while it would be hard, do not lose hope.
8. Hope, or lack of its importance in the Heroes of Olympus series
Alongside other callbacks and reinforcements of PJO's lore, where is Elpis (hope)? Why doesn't she appear as a larger theme in the books? I don't know.
Elpis is still in the jar, having been used as a threat of defeat. But now Kronos is gone. Have Gaia use it as s symbol for her own cause.
Make hope Gaia's argument. The most important part of why her cause stands. Gaia is waking now because there is no hope for the betterment of the planet while in human - and therefore godly - grasp. She wants to save the planet, but they, the destroyers, are opposing her.
Hope is what she wants to bring back. The hope that death will not be the end of life, but further evolvement and betterment of all species.
This argument is what the counterargument should unravel. All species? Why are humans considered irredeemable, unworthy of becoming something greater?
Why can't they not coexist and why can't humans learn how to care about the world surrounding them.
Make hope for humanity and for the environment not a question of if they are capable to coexist, but how we can manage that. Humanity and nature are not mutually exclusive, but two halves of the same whole that need each other to sustain their longevity. Yes, nature can exist without humans, but humans can't.
This does not mean that the best way forward is to kill all humans.
There is no need for hope in HOO because there are no greater questions being asked about topics that require hope, because otherwise we would descend into nihilism and fatalism.
9. Give the gods reason to act the way they act, or a look at a greater narrative problem in the series
I may be generalizing, but the gods act erratically and make choices convenient for the plot, as it is, to happen.
Hera: how, specifically, does she know that Gaia is rising and what her plans are. Why is she against Gaia, when the older goddess has a track record of helping the Olympians on different occasions in the myths. Why does she decide to act when she does, how she knows that the king of the giants (whatever his name may be) is coming after her right then.
We don't know.
Athena: we understand why she wants the Athena Parthenos back. Why not force the Romans to give it back. After all, she is a goddess, even if the Romans don't respect her as the Greeks did, she has power and sway over them. Why send her children, a supposedly important part of what brings her glory, to a near-certain death. Is it misguided vengeance, an obsession to get the statue back at all cost, or simple cruelty. These reasons could apply very well to sending the Romans, yet she doesn't.
Zeus: why lock down Olympus? Paranoia, which fair, but you are a King, why wouldn't you look after your subjects? (bc Riordan chose to ignore part of his characterization in the myths and part of his godly domain) (I know kings aren't perfect, but after the last war, one would think he would do everything in his power to stop another one before it begins) Why not seek justice for Octavian's lies, that affect their ability to win the war, and kill/imprison him? Justice is part of his domain, as Zeus Nomius.
I know that we wouldn't necessarily need these answers, but without some of them, some choices left hanging seem to be there only to add to the drama and danger of it all.
All in all, I have many problems with the 'Heroes of Olympus' series. Some of them are nitpicks and personal preference as a high fantasy reader in my free time. Some of them would really add to the story and continue the themes of PJO.
Please ask me if something wasn't clear to you. I'll happily explain further.
If you find something you don't agree with, let's discuss. I'm open to changing my opinions.
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