#for both catharsis and plot

[beaconfeels]

@like-lazarus kindly tagged me in a “Messy Draft Monday” and even though I’ve been too stressed to be actively working on anything right now, I wanted to share something. So have a little bit of one of the random steter stories floating around in my brain:

Peter finishes loading the last bag into his car and leans against the trunk for a minute. Overall, he feels satisfied. His revenge is complete, plus he’s an alpha, which is a nice little perk.

It’s a little galling to have to leave the Hale territory instead of ruling it, but if he stays here his nephew and that merry little band of budding psychopaths will kill him eventually. He’s lucky, but he’s not that lucky.

The sound of rapidly approaching footsteps catches his ear first, then a quick heartbeat. He knows that heartbeat. He memorized that heartbeat one night that seems so long ago, but really wasn’t that long ago at all.

He turns around.

“Stiles,” he says, low, dangerous. Because he likes Stiles, but Stiles is most likely to come up with a murder plot that will actually work, so he’s not to be trifled with.

The boy pulls up short, staying well back from Peter. He’s breathing hard, and those pretty pink lips are parted, his cheeks flushed. He really is very lovely, Peter thinks.

Stiles has a large duffle bag weighing down one shoulder, his grip on it white-knuckled. “Take me with you,” he says.

Peter blinks. He thought he was beyond being surprised.

“You want me, right?” Stiles goes on. “You wanted to turn me. I can’t let you bite me, but I can be pack. Just take me with you. Let me stay with you and I’ll be pack. I’ll cook too, and clean.”

“Can’t let me bite you?” Peter asks. It’s not the only question he has, but it’s the one that sticks out the most in what Stiles has just laid on him.

“I don’t think so. Maybe? But right now it’s a no.” He bites his lip, taps his fingers on his leg. “Yeah. Definitely a no right now. Maybe forever. But humans can be pack, right?”

Peter doesn’t know why he’s even still standing here. Of course he’s not going to take Stiles with him. “You don’t even know where I’m going,” he says instead of what he should be saying, which is obviously no. It’s definitely not happening.

“I don’t fucking care,” Stiles says, and he sounds suddenly weary. “As long as it’s not here, I’m cool.”

Peter tilts his head. Stiles is such a mix of scents it’s always been hard to get a read on him, but Peter has noticed the anguish that radiates off the boy in waves. It’s a layer that runs under everything else— a steady, overwhelming sadness. “And what would your father have to say about that?” He still doesn’t know why he’s even engaging in it, why he’s giving the boy any hope.

Stiles snorts. “I left him a note that he’ll find whenever he finally realizes I’m gone. He won’t come after me.” He looks down and to the side, his hand clenching into a fist.

“Listen,” Stiles says, and he raises those big brown eyes to look right at Peter, “I can’t stay here anymore. Please. Just please, take me with you. I know I can’t promise not to be any trouble, you’d never believe that, but I can be useful. I can be good for you. I can be pack.”

He’s desperate, and that shouldn’t matter. If it were anyone else it wouldn’t matter, but this is Stiles. Stiles is unusual. He’s interesting. Now that he’s had his revenge, Peter is at a bit of a loose end. Not without plans, never without plans, but the future already looks a little boring. Stiles is many things, but boring isn’t one of them.

Plus, Stiles is the Sheriff’s son, and absconding with the son of the sheriff sounds like a delightfully mischievous, if misguided, end to his run in Beacon Hills. “Alright, you can come along.”

[quietwingsinthesky]

Lucy lives!au where both lucy and desmond are tensely sitting on the fact that Clay Told Desmond She Is A Templar and neither of them know how to approach this without outing that fact to everyone (Desmond does not want his dad to kill her)

OUGHHHH.

and the way it completely flips the little power dynamic they had going on. because whether desmond likes it or not, whether he wants it or not, lucy's life is now completely at his mercy. one wrong word and. well. they're called assassins for a reason. and while i think there's multiple stories in the series of assassins becoming templars, there's basically none about templars becoming assassins (or assassins again) which tells you about all you need to know about how willing they'd be to let a "traitor" back into their little gang.

and that's just got to feel terrible, right? especially now that desmond knows. if he can just read between the lines of what lucy has told him about vidic from her perspective, what clay has shown him about how she was turned. terrible awful moment of realizing that it's playing out all over again; only now lucy owes her life to him for not giving her over to the assassins. i don't think desmond would like that at all.

and like. to me there is zero question that part of the reason lucy latched onto desmond more than she was probably supposed to according to the whole templar double-agent plan was that he was someone she had a modicum of control over. she was very much in control of the flow of information to him, he owed her for getting him out of abstergo, and in all likelihood, she probably intended to protect him from them as best he could (a track record which does not reflect well on her! considering what happened to clay! but i really do think she intended to.)

so, that is gone. not only is that gone, but her world's been up-ended, again. she's not a quite a templar, not quite an assassin, and oh, right, the sun is still going to explode, and they barely know how they're going to stop it. desmond was in a coma for who knows how long, and now he looks at her different. he knows. and now they're all going to be in close proximity with his dad and her mentor who will not risk the whole world for either of them, shaun's still being twitchy about 'what if desmond was a templar spy' with no idea how close and how far off that assumption is, and there's also that fucking alien isu ghost lady who tried to kill her through desmond! not a fun time for lucy, all things considered.

and like despite that, i think the old dynamic they had still remains. desmond relies on lucy. she's now proven that she's a completely unreliable anchor to reality, but still, she's the one he's got. they started this animus shit together; they're gonna finish it together. lucy is still trying to pull the incredible balancing act of pushing desmond far enough to get what they need without breaking him entirely, something that's getting harder and harder by the day because like. three. well, no, four, huh. haytham, too. so four memory dives in, there's... if not damage, then a disconnect. between desmond and reality. that can't be undone, only managed.

everything that happens already leaves their little team so isolated from the outside world, but alsjdlksa i fucking love the idea of lucy & desmond being even isolated from the other assassins. terrible secret gang.

[scalpelsister]

also this isnt really proper shade at larian or anything and the writing of this game is SAURE good so dont take it this way but.

i sure do wish. Minthara was not villain batted as hard as she was. Her being locked to "evil" runs and being mutually exclusive with several party members. Her being nothing more than a miniboss for your average player- who does not even know shes a potential party member! Her being so chronically unloved by the community because... shes the "evil" companion. Hell, even the amount of people saying frankly really edgy shit about killing her or hurting her completely unprompted lmao. Like I genuinely think shes been pretty unfairly demonized both by the community and by the meta of just like... the game itself because she's really actually..... kind of, dare I say, sweet? if you get to know her. ugh.

[theopolis]

Man Spectacular #200 will always be the spiritual finale of Spider-Man comics to me

[azzandra]

I'm convinced that if Shang Qinghua decided to start writing and publishing after transmigrating, he would be like an invasive species. Like that cat that killed all the birds on that one island.

Airplane was a maniac who banged out 10k chapters while competing with millions of other writers on the attention market. This is a guy who had to know how to game the algo for attention if he wanted to have enough money for food.

And PIDW's world has what, maybe a few hundred people both literate and willing to write fiction? Airplane would eat these people for lunch. While they were poetically crafting new metaphors and delicately staging each scene, SQH would be creating the most id-stroking lowest common denominator trash imaginable.

He would not only smoke the competition, but introduce to this world every terrible, cheap trick of the hack writer. Everything ends in cliffhangers. Stakes constantly rising. Bullshit plot devices to contrive as much masturbatory emotional catharsis as possible. And he'd be selling like gangbusters.

[solxamber]

Trash Novel Chronicles: How to Ruin a Plot || Jade Leech

When you end up as the villainess in a story that's hellbent on making her suffer for no reason, you decide to make the main characters suffer just for catharsis. Good thing that your fiancé, Jade Leech seems to like chaos as much as you.

Series Masterlist

Dinner wasn’t much to write home about—a plate of lukewarm spaghetti that could generously be described as "functional," paired with a salad so sad it could star in its own soap opera. But you had something better: entertainment.

And by entertainment, you meant the literary dumpster fire currently sitting in your hands.

This book. This book.

The plot was so catastrophically terrible that it looped around to being hilarious. You chewed your subpar spaghetti and flipped a page, trying not to laugh too hard at the sheer absurdity of what you were reading.

The villainess, a talented duchess and renowned potion maker, was saddled with some of the worst clients in existence. The saintess—of course, she was a saintess, because originality was clearly out of the question—was engaged to the Duke of the North. Why? Who knows. It wasn’t like they seemed to like each other. In fact, she was also having a very public affair with the prince.

And not just any prince. A balding prince.

Because nothing screams “romantic rival” like the slow and tragic retreat of one’s hairline.

They were both the worst. The kind of people who would demand a 12-step skincare routine from their servants but would balk at paying them a living wage. When the villainess refused to make them more potions for ridiculous requests like “immunity to insults” (seriously?), they decided to frame her for crimes and have her executed.

The sheer audacity.

But it didn’t stop there. Oh no. The villainess had a fiancé—Jade Leech, poor guy—who tried his best to help her escape. And what did she do? Sacrificed herself so he wouldn’t get dragged into her mess. Noble, sure, but also infuriating because she died for them.

And then Jade, now heartbroken and understandably bitter, became the main antagonist. Only to be defeated by the same cartoonishly bland protagonists who caused the entire mess.

It was like someone handed a six-year-old a book contract and said, “Go wild, kid. Just make sure it has betrayal and love triangles, and throw in some magic potions or something.”

You forked another sad tangle of spaghetti into your mouth and tried not to choke from laughing at the sheer absurdity of it all. The characters had all the depth of a kiddie pool, the plot holes were big enough to drive a carriage through, and the pacing? What pacing? This story had clearly decided pacing was for cowards.

You flipped to another page, nearly snorting when the saintess justified her affair by saying, “It’s what the goddess would want."

Sure, Jan.

And just as you were about to take another bite of dinner, it happened.

A mushroom. A mushroom.

You didn’t even realize it had slipped into your spaghetti until it was already lodged in your throat. Panic set in as you clawed at your neck, gasping for air while your brain helpfully supplied one last thought:

Can’t believe a mushroom took me out. Goddammit.

And then everything went dark.

The first thing you notice is the carpet: thick, plush, and entirely too luxurious for someone who had been laughing themselves to death over garbage-tier literature just moments ago. The second thing you notice is that you’re alive, which is great. Except you’re no longer in your cozy little living room.

No, you’re in a gothic mansion straight out of an interior decorator's fever dream. Dark wood, brooding paintings, and vials of suspicious liquids lined up neatly on shelves. For a second, you think you’ve wandered into a Dracula fan convention, but then it hits you.

The novel. The Poisoned Duchess and the Frozen Heart of the North.

You scramble to your feet, heart pounding. “No. No, no, no, no,” you mutter, sprinting to the nearest mirror. A familiar (and obnoxiously beautiful) face stares back at you. Elegant curls, piercing eyes, and an expression that could curdle milk. Yep. You’re the Duchess—the villainess who gets executed for daring to have standards.

“Oh, you’ve gotta be kidding me,” you groan, gripping the edge of the vanity. “I was just making fun of this! How did I end up here? Is this karma? Did the mushroom do this?!”

You spend a good ten minutes pacing the room, muttering to yourself like a squirrel with a caffeine problem. “Okay, okay, think. The Saintess and the Prince are nuts, and they’re gonna come here demanding potions for their ridiculous nonsense like ‘immunity to sarcasm’ or whatever. Solution? Close the shop. Sell it. Let some other poor soul deal with their unhinged requests. Genius! But what next? What about the fiancé—oh god, Jade!”

Jade Leech. The fiancé you had casually dismissed in your tirade against the novel. The one who was supposed to be self-sacrificing, and eventually doomed. But now he’s your fiancé, and you’re not about to let him become collateral damage in this flaming dumpster fire of a plot.

“We’ll run away!” you declare, pointing dramatically at an imaginary horizon. “We’ll elope, move to some peaceful countryside, grow tomatoes, and live a happy, Saintess-free life. Screw the plot. Screw the Duke. Screw the Saintess and her balding fiancé—”

You’re mid-sentence when the sound of a door opening interrupts your theatrical monologue. You spin around and freeze.

Standing in the doorway is Jade Leech himself. And oh boy, the novel did not do him justice. His sharp features, soft teal hair, and piercing eyes make your brain short-circuit. The man looks like he walked out of an ethereal fairy tale and promptly decided to make everyone else look like peasants.

He leans casually against the doorframe, arms crossed, and raises a brow. “Well, this is quite the scene to walk into.”

You blink. And then you blink again, because your brain is still stuck on handsome fiancé alert. “Uh…”

Jade smirks, clearly amused. “Is this a private performance, or can anyone join? Because I’m not sure who you’re planning to screw, but it sounds… ambitious.”

You want to die all over again. “I—uh, would you… like to join my plans?”

His eyes gleam with mischief. “Plans, you say? That depends. Do these plans involve anything more exciting than managing a potion shop?”

“Yes! So much more exciting!” you blurt out. “We close the shop, sell it, cause some chaos, run away, and live happily ever after far away from this stupid place! No Saintess. No Duke. Just… us. Tomatoes. Maybe a goat.”

Jade chuckles, the sound warm and entirely too pleasant for your frazzled state of mind. “You’ve certainly caught my interest. All right, I’m in. A little chaos sounds much better than… whatever normalcy is supposed to look like.”

He steps closer, and you swear your brain bluescreens again because wow, personal space doesn’t exist here, huh? Jade offers his hand, his smile sharp but oddly sincere. “So, where do we start, my prodigal Duchess?”

You take his hand, still half-dazed. “Step one: Screw the Saintess.”

He laughs again. “Now that’s the kind of plan I can get behind.”

Meeting Jade's brother was like getting hit by a rogue wave of chaos. You'd thought Jade was the wild card of the family, but then Floyd Leech burst into the room like a hurricane wearing a grin.

He looked at you with an intensity that made you feel like you were being appraised for your entertainment value, then immediately announced, "You wanna screw with the Saintess and the Duke? Oh, I’m in.”

You stared at him for a long moment, then at Jade, who gave you an apologetic shrug, clearly used to Floyd’s… energy. You decided, then and there, that you were extremely lucky to have been paired with the Leech brother who at least pretended to respect social norms.

Floyd, however, was a force of nature and, admittedly, a useful one. He seemed far too enthusiastic about the chaos you were planning, but hey, when life gives you a human typhoon, you use it to wreak havoc.

Then there was Azul Ashengrotto. Meeting him felt less like talking to a person and more like negotiating with an overly polite shark. “I can provide you protection,” he said smoothly, pushing a contract toward you with a smile that didn’t quite reach his eyes.

You glanced at the contract, then back at him. “And what does this… "protection" demand in return?”

“Oh, nothing too demanding,” Azul said, waving his hand as if it was all very casual. “Just a few favors in return. Small things, really.”

You stared at the fine print and felt your soul start to sweat. This wasn’t just protection—it was a fast track to selling your soul to the fish mafia.

“Tell you what,” you said, shoving the contract back toward him. “I’ll sell the potion shop to you for cheap if you help me with whatever plans I come up with.”

Azul tilted his head, intrigued. “And what’s in it for me?”

“You get to own the best potion shop in the kingdom without dealing with the Saintess and her entourage of entitlement.”

His eyes gleamed. “Done. But if you get arrested, you won’t mention my name.”

“Deal,” you said, shaking his hand. Internally, you made a note to burn the shop down if things went south. Better a pile of ash than Azul owning it and your dignity.

The next day, you decided to drop by a boutique to prepare for the Saintess’s tea party. Not because you cared about the event, but because you cared very deeply about ruining her day.

You knew exactly what she was planning to wear—some pastel monstrosity—and you were determined to outshine her. You’d wear an upgraded version of her outfit, but classier, sharper, and absolutely dripping with pettiness.

The boutique owner was taking your measurements when you told them to send the bill to your butler. That was when Jade, who had been quietly browsing nearby, strolled over. He casually slid his arm around your waist, like it was the most natural thing in the world, and said, “Send the bill to me.”

You whipped around, scandalized. “Excuse me?!”

He leaned in, his mismatched eyes sparkling with mischief. “I just want everyone to know you’re my fiancée,” he murmured, his voice low and entirely too close to your ear.

Your brain promptly blue-screened. He was too close, his scent too distracting, and his hand on your waist was doing things to your equilibrium. The boutique owner pretended not to notice your obvious malfunction, but Jade? Jade looked like he was having the time of his life.

“Fine,” you mumbled, your voice barely audible as you tried to collect the scattered pieces of your dignity.

“Good,” Jade said, his smirk widening.

He didn’t let go of you after that. Oh no, he kept his hand firmly on the small of your back as you left the boutique. Every step was an exercise in not collapsing from the sheer audacity of his touch.

Meanwhile, Jade looked perfectly at ease, as if his sole purpose in life was to see how long it would take you to spontaneously combust.

By the time you got back to the mansion, you were sure of one thing: Jade Leech was going to be the death of you, and he was going to enjoy every second of it.

The tea party was shaping up to be the highlight of your career as a petty agent of chaos. You arrived late, naturally—nothing screams “I’m better than you” quite like waltzing in when everyone’s already seated.

The moment you stepped into the pavilion, a collective gasp swept through the crowd. Your dress—custom-tailored, one-of-a-kind, and effortlessly overshadowing every other outfit there—practically glowed in the sunlight.

The Saintess, perched at the head of the table, turned to greet you, her expression instantly souring when she caught sight of your gown. Oh, you could practically hear the cogs in her head screeching to a halt as she realized you’d completely outdone her.

“Oh my,” you said, offering a demure smile as you made your way to your seat. “I hope I’m not interrupting.”

“Not at all,” she replied, her voice as sweet as arsenic. “What a… bold choice of dress.”

“Oh, this?” You gestured casually, as though you weren’t wearing something that could stop traffic. “My fiancé picked it out for me. He has such excellent taste, don’t you think?”

You didn’t need to look directly at her to see the way her jaw clenched. You could feel her rage simmering from across the table. After all, her own fiancé, or even the Balding Prince, hadn’t bothered to buy her a dress, let alone one that could compete with yours. You almost felt bad for her. Almost.

From there, the afternoon devolved into a series of increasingly petty power plays.

When the Saintess poured herself a cup of tea, you made a point to remark on how “rustic” her teapot was.

When she complimented the garden’s flowers, you chimed in with, “Oh, are these the same ones you tried to grow last year? I remember hearing how they all died!”

Every little comment was a carefully aimed dart, and she was too polite—or perhaps too afraid of snapping in public—to retaliate. The guests, of course, were eating it up.

The pièce de résistance came when the Balding Prince himself approached you during the party.

“I need a potion,” he said, puffing himself up like a rooster trying to assert dominance. “For my, uh, hair.”

You blinked, momentarily stunned. Of all the scenarios you’d envisioned, this was not one of them.

“Your hair?” you echoed, doing your best to keep a straight face. “What kind of potion are we talking about here? Growth? Volume? Shine?”

The Prince’s eye twitched. “That’s… none of your business,” he snapped.

Before you could respond, Jade—bless him—“accidentally” bumped into the Prince from behind, sending his ridiculous feathered hat tumbling to the ground.

The gasp that followed was deafening.

There it was, in all its glory: the shiny, blinding expanse of the Prince’s balding crown, gleaming like a beacon of despair in the afternoon sun.

For a moment, the pavilion was silent. Then someone coughed. Then someone else giggled. And before long, the entire tea party was a symphony of poorly stifled laughter.

“It’s, uh, a royal tradition!” the Prince stammered, clutching his hat and jamming it back onto his head. “A sign of wisdom and… and…”

He trailed off, clearly out of excuses, and fled the scene faster than you’d ever seen anyone run in formalwear.

The Saintess looked like she was about to implode. Unfortunately for her, the Third Male Lead (Yes, there were 3 of them) chose that exact moment to swoop in, all charm and wit as he began lavishing her with attention. You leaned back in your chair, sipping your tea and basking in the chaos like a cat who’d just knocked over an entire shelf of priceless antiques.

“Nice work,” you murmured to Jade, holding up your hand for a discreet high five.

Instead of obliging, he grabbed your hand and laced his fingers through yours, the smirk on his face practically criminal.

“You’re far more fun than I expected,” he said, his voice low enough that only you could hear.

You stared at him, your brain immediately short-circuiting. Your default response to most situations was sarcasm or snark, but this? This was uncharted territory.

“Uh… thanks?” you managed, your voice coming out embarrassingly squeaky.

Jade chuckled, his thumb brushing over the back of your hand as if to emphasize just how flustered you were.

“Come on,” he said, his tone far too casual for someone who’d just ruined you in front of an audience. “Let’s go cause more trouble.”

He kept his hand on the small of your back as you walked away from the pavilion, and you were pretty sure your soul left your body every time he leaned in to whisper some biting comment about the Saintess or her rapidly expanding collection of admirers.

One thing was certain: you were having the time of your life, and this was only the beginning.

The day begins innocently enough, which should have been your first warning.

You’re peacefully reading in the library, enjoying the silence, when Floyd barrels in like a hurricane. “Oi, c’mon, you gotta help me!” he hisses, grabbing your wrist before you can protest.

“Help you with what?” you manage to ask as you’re dragged down the corridor, nearly tripping over your own feet.

“It’s Jade,” Floyd says ominously. “He’s made mushrooms again.”

Ah, that explains it. You’ve heard rumors about Jade’s culinary experiments, but you’d yet to experience them firsthand.

“And what does that have to do with me?”

Floyd grins, the kind of grin that promises nothing good. “Well, I told him you love mushrooms.”

You stop dead in your tracks. “You what?”

Before you can bolt, Floyd shoves you through the greenhouse door and slams it shut behind you.

Inside, the room is warm and humid, filled with the earthy scent of soil and plants. At the far end, Jade is bent over a terrarium, meticulously arranging its contents with tweezers.

He looks up when he hears you enter, his expression brightening. “Ah, you’re here!”

Your heart sinks.

Floyd’s words echo in your mind—you love mushrooms. If only he knew. Mushrooms were the reason you got isekai’d in the first place, and the trauma of choking on one is still fresh in your memory. But now, faced with Jade’s expectant gaze and a plate of what looks like sautéed mushrooms on the table, you realize you’re trapped.

“Floyd said you were eager to try these,” Jade says, his tone polite but unmistakably pleased.

You glance at the mushrooms, then back at Jade. He looks so hopeful, like someone who’s spent hours perfecting a recipe and is finally sharing it with someone who’ll appreciate it. You swallow hard.

“Of course!” you say, forcing a smile that feels more like a grimace. “I love mushrooms.”

You sit down at the table, and Jade places the plate in front of you. The mushrooms actually smell... good. Earthy and buttery, with a hint of garlic and herbs.

“Bon appétit,” he says, watching you intently.

You pick up a fork, your hands trembling slightly, and stab a piece. You can do this, you tell yourself. It’s not the mushroom’s fault you died. It’s just food.

With one final breath, you pop the piece into your mouth.

...It’s delicious.

The flavor is rich and savory, perfectly balanced, and the texture is tender without being mushy. You blink in surprise, then take another bite.

“Good?” Jade asks, and there’s a slight smugness in his tone.

“It’s amazing,” you admit, unable to stop yourself from eating more.

Jade’s smile widens, and something in his expression softens.

After finishing the plate, you linger in the greenhouse as Jade continues tending to his terrariums. You watch him work, his hands deft and precise as he rearranges moss, misting the plants with care.

“Need help with anything?” you ask, feeling unexpectedly at ease.

He glances at you, then gestures to a nearby shelf. “If you don’t mind organizing the vials, that would be helpful.”

You nod and get to work, sorting the various bottles of nutrients and spores while Jade hums softly under his breath. The atmosphere is peaceful, the kind of quiet that feels alive rather than stifling.

Once the terrariums are in perfect order, Jade brews a pot of tea, and you both sit at a small table nestled among the plants. The tea is fragrant, its warmth soothing as you take a sip.

Jade sits across from you, one hand resting lightly on the table. Absentmindedly, you reach out and place your hand over his.

He freezes for a moment, his eyes flicking to your joined hands. His usual calm demeanor falters, a faint blush creeping up his neck. “You’re quite bold,” he murmurs, though there’s a hint of nervousness in his voice.

You suppress a grin, giving his hand a gentle squeeze before turning your attention back to your tea. “And you’re holding my hand,” you point out casually.

“I suppose I am,” he says, his voice steady again, though his ears are noticeably red.

The two of you sit there for a while longer, sipping tea and enjoying the greenhouse’s serenity. Jade, ever the polite menace, pretends to be unfazed, but you catch him glancing at your joined hands more than once.

You smile into your cup, the taste of mushrooms and tea lingering on your tongue.

You wake up to the sound of maniacal laughter, the kind that belongs to either an evil overlord or someone who just discovered how to unlock infinite in-game currency. For one groggy moment, you wonder if the devil himself has come to collect you for your sins. But as your eyes flutter open, reality (and dread) sets in.

It’s not the devil. It’s Floyd.

“Why?” you croak, sitting up in your chair and rubbing your eyes. “Why are you like this?”

Jade, ever the epitome of composed chaos, is sitting calmly across from you, sipping tea and looking highly amused. “Ah, you’re awake,” he says with a smile that suggests nothing good is about to happen.

“I had the best idea!” Floyd exclaims, still cackling. “It’s gonna be hilarious!”

Jade gives you a knowing look, the kind that says, This is going to be a disaster, but I want to watch it unfold.

You should probably shut this down. You should. But instead, you wave a hand and mumble, “Sure, go wild.”

It turns out “wild” was underselling it.

Floyd’s “brilliant” idea? Convince the Saintess to organize a grand sword-fighting competition under the premise that the Balding Prince would absolutely win. To no one’s surprise (except maybe the Saintess), she fell for it hook, line, and sinker.

“She’s been gushing about how he’s ‘a natural-born warrior,’” Floyd reports gleefully during the planning phase. “She’s even betting on him!”

You glance at Jade, who is practically glowing with smug anticipation. That should have been your first clue to intervene. Instead, you shrug and think, Eh, it’ll be fine.

It was, in fact, not fine.

When the announcement of the tournament goes public, the Balding Prince—bless his fragile ego—realizes he has a slight problem. Namely, the fact that he’s never held a sword in his life, let alone used one. Naturally, he comes crawling to you.

“I need a potion,” he demands, his tone somewhere between entitled and desperate. “To, uh, enhance my… swordsmanship.”

You lean back in your chair, trying to look unimpressed. “Oh, I don’t sell potions anymore,” you say airily.

The Prince glares at you, his bald spot gleaming under the room’s chandelier. “I’ll pay you.”

“You can’t afford me.”

“How about enough gold to fund your entire territory for the next twenty years?”

You sit up straight. “You drive a hard bargain, Your Highness.”

The potion you make for him is top-notch—for two hours. After that, well, let’s just say it’s going to be a long day for the Balding Prince.

The tournament goes about as chaotically as you expect. Jade, a genuinely skilled swordsman, carves his way through every round with ease. The Prince, meanwhile, is barely holding on, relying entirely on the potion to scrape by. Somehow, by sheer luck and Floyd’s endless meddling, the Prince manages to make it to the final round.

By this point, the Saintess is practically glowing with excitement, convinced her fiancé is about to cement his status as a legendary warrior. “He’s going to win for sure!” she squeals, clapping her hands.

You sip your tea, barely suppressing your smirk. Oh, sweet summer child.

The final round begins with Jade and the Prince stepping into the arena. The crowd roars with anticipation. The Saintess is preening in the stands, while the Empress looks vaguely mortified, as though she knows what’s about to happen but can’t stop it.

And then, right on cue, the potion wears off.

The Prince’s stance falters immediately, his grip on the sword going from “warrior” to “child holding a bat for the first time.” Jade doesn’t even have to try. One expertly placed strike sends the Prince’s weapon flying across the arena, and the match ends with the Prince sprawled on the ground, dazed and defeated.

The crowd erupts into laughter, and you’re pretty sure you see the Emperor facepalm.

To add insult to injury, the Emperor himself has to present the winner’s diadem to Jade. But instead of wearing it himself, Jade turns to you with a wicked grin.

“For you, my dear,” he says, placing the diadem on your head with a flourish.

The crowd loses it.

The Empress looks like she’s contemplating disowning her son on the spot. The Saintess bursts into tears and flees the arena, with the Prince stumbling after her, trying to explain his humiliating defeat.

You, meanwhile, stand in the center of the chaos, smiling peacefully.

“This,” you murmur, “is the best day of my life.”

The market was lively, the kind of lively that felt one loose cart wheel away from utter chaos. You’d gone there to buy something mundane—perhaps herbs, maybe a decorative pot, who even remembered anymore? What you did remember was spotting Azul, impeccably dressed as usual, standing at a stall that sold ornamental quills.

“Azul!” you called out, dragging Jade with you as you made your way over.

Azul turned, one brow arching as he spotted the two of you. “Ah, the duchess and her ever-present shadow. What brings you here?”

“Just window shopping,” you said vaguely, though Jade’s sudden fascination with terrarium accessories suggested otherwise.

One thing led to another, and before you knew it, the three of you were headed to a charming little café. It had the kind of ambiance that said, I’m wildly overpriced, but look at our aesthetic! Jade held the door open for you, and you stepped inside, marveling at the array of desserts in the display case.

You barely had time to settle into your seat when the atmosphere shifted.

There she was.

The Saintess.

You tried to ignore her, truly, but her obnoxious aura was as subtle as a bull in a porcelain shop. She was seated nearby, flanked by her entourage of lackeys. They whispered, they giggled, and they kept looking at you. You rolled your eyes and leaned closer to Jade and Azul, focusing on your conversation.

But peace, as usual, was not in the cards.

One of the lackeys—a girl who had the smug look of someone who thought her two brain cells were revolutionary—approached your table. In her hands was a steaming cup of tea, and the moment you saw it, a sense of foreboding settled over you.

And then, with all the subtlety of a villain in a children’s cartoon, she “tripped.”

The tea flew through the air in slow motion, a graceful arc of impending disaster. You braced for impact, but Jade moved faster. He stepped in front of you, shielding you from the scalding liquid. Most of it missed him, but a splash landed on his hand.

“Jade!” you exclaimed, grabbing his arm to inspect the burn.

Meanwhile, the lackey straightened herself up, not even bothering to fake remorse. “Oops,” she said, her tone so insincere it could’ve curdled milk. “It was an accident.”

“An accident?” you repeated, your voice rising. “You carried a boiling cup of tea across the room, aimed it at our table, and ‘accidentally’ threw it at us?”

She shrugged, her smirk widening. “My dad will pay for any damages. And you’re overreacting. It’s just tea.”

Overreacting? Oh, you were about to react, all right.

Azul, meanwhile, was unusually quiet. His tie had been stained in the splash zone, and his tight-lipped smile was beginning to look like it could crack glass.

The lackey continued, oblivious to the metaphorical storm clouds gathering over Azul. “Anyway, if you keep making a scene, it’ll just look bad for you. My dad’s pretty important, you know.”

“Oh?” Azul said suddenly, his voice as smooth as silk but with an edge sharp enough to cut steel. “And who might your father be?”

The lackey puffed up with pride. “He’s the finance manager for the duchess’s estate!”

There was a beat of silence. You exchanged a glance with Azul, and then your lips curled into a predatory smile.

“Azul,” you said sweetly, “guess whose daddy is about to lose his job?”

The ride back to your estate was tense—for you, at least. Jade sat calmly beside you, his hand resting on his knee, but you couldn’t stop fussing over his burn.

“Stop squirming,” you said, dabbing at his hand with a damp cloth.

“I’m fine,” Jade insisted, though his amused tone suggested he was enjoying your concern far too much.

“You’re not fine,” you retorted. “What if it scars? What if it gets infected?”

“Then I’ll have a mark to remember your attention by,” he said, his lips twitching into a half-smile.

You glared at him, but your fussing didn’t stop. By the time you reached the estate, you were practically vibrating with righteous fury.

The finance manager stood in your office, visibly confused.

“You’re fired,” you said bluntly.

His jaw dropped. “What? Why?”

You crossed your arms, your smile as sharp as a blade. “Ask your daughter.”

“What does she have to do with this?” he demanded, his face turning red.

“Everything,” you replied. “Guards, escort him out.”

He sputtered and protested, but you didn’t care. Justice had been served.

Later, after the physician had checked Jade’s hand and declared him fine, you collapsed onto the nearest couch, your exhaustion finally catching up to you. Without thinking, you ended up sprawled across Jade’s lap.

He stiffened, his hands hovering awkwardly before he cautiously placed one on your back to keep you from sliding off.

“Comfortable?” he asked dryly, though the faint pink on his cheeks betrayed him.

You hummed in response, already half-asleep. Within moments, your breathing evened out, and you nodded off.

Jade, for his part, was thoroughly smitten. His usual composure cracked as he replayed the day’s events—your fiery anger on his behalf, the way you’d fretted over his injury, and now, the way you looked so peaceful resting against him.

His fingers brushed a stray strand of hair from your face, and he allowed himself a rare, genuine smile.

“Quite the enigma,” he murmured to himself, already planning how to keep you close.

The ballroom was a spectacle of opulence. Chandeliers glittered overhead, casting soft golden light on the polished floors and the parade of nobles in their finest silks and velvets.

This was supposed to be a night of grand announcements, of declarations of love, and of the start of some “epic romance” that would undoubtedly be inscribed into the annals of history—or, at least, that's what the original novel promised.

But as you stood to the side with Jade and Floyd, it was evident that this version of events was hurtling off the rails.

Enter: the Duke of the North.

The poor man barely stepped into the ballroom before his eyes landed on the prince and the saintess. You could physically see the will to live drain out of him as his shoulders slumped, his gaze unfocused like he was calculating the fastest way to fake his own death and disappear into the wilderness.

It was almost pitiful. Almost.

The prince, meanwhile, had puffed up his chest and was grinning like he hadn’t recently been humiliated in front of half the kingdom. And the saintess—oh, she was trying, bless her delusional heart.

Smiling demurely, batting her lashes, and putting on a performance that might have worked if her reputation hadn’t already been stomped into the dirt by your carefully orchestrated chaos.

You leaned toward Jade and whispered, “I think the Duke’s trying to plot his own escape.”

Jade’s lips twitched in amusement, but he kept his usual calm demeanor. Floyd, however, cackled loudly enough to draw a few stares.

Then, the moment arrived: the prince stepped forward, his cape swishing dramatically as he raised his goblet. “Tonight, I announce my bride-to-be, the one chosen by the heavens themselves—the saintess!”

There was a smattering of applause, mostly out of obligation, but you were too busy watching the Duke. The man visibly sagged with relief, his shoulders dropping like he’d just been unshackled from a lifetime of servitude. You could practically hear the mental thank the gods echoing in his head.

And then, as if shedding the weight of the world, he turned on his heel and made a beeline—toward you.

You blinked, momentarily stunned as the Duke of the North, the supposed male lead, bowed deeply and extended a hand toward you. “Would you honor me with the first dance, my lady?”

You opened your mouth to decline, because this wasn’t in any script you remembered, but before you could utter a word, Jade smoothly stepped in.

“Apologies, Duke,” he said with his signature polite menace, “but she already promised this dance to me.”

Without waiting for a response, Jade’s hand found the small of your back, and he gently yet firmly guided you to the dance floor. The Duke was left standing there, his hand still outstretched, looking mildly bewildered.

“Don’t worry!” Floyd piped up, appearing out of nowhere. “I’ll dance with you!”

Before the Duke could protest, Floyd latched onto his arm and practically dragged him into a lively—and utterly chaotic—dance that looked like a mix of a waltz and a sparring match. The Duke’s expression alternated between horror and resignation, while Floyd grinned like he was having the time of his life.

You couldn’t help it—you laughed, the sound bubbling up uncontrollably as you watched the scene.

Jade glanced down at you, his expression softening as he took in your laughter. His usual cool demeanor melted for just a moment, replaced by something so tender it made your heart stutter.

The realization hit you like a lightning bolt.

Oh no. Oh no, no, no.

You were in love with him.

And not the “oh, he’s handsome and I tolerate his presence” kind of love. This was the “I want to spend my life laughing and dancing and plotting petty revenge schemes with you” kind of love.

The thought was overwhelming, and before you could stop yourself, you buried your face in Jade’s chest.

He stilled for a moment, surprised, but then his arms encircled you, holding you close as he continued to sway to the rhythm of the music.

He didn’t question it, didn’t tease you, didn’t even comment. Instead, he rested his chin lightly on top of your head, his voice low as he murmured, “Are you all right?”

You nodded into his chest, your cheeks burning as you clung to him like a lifeline.

As the music swelled around you, you felt his hand tighten slightly on your waist. When you finally peeked up at him, his gaze met yours, and there it was again—that look of unguarded adoration that made your knees weak.

It was, without a doubt, the best dance of your life.

Meanwhile, on the other side of the ballroom, the Duke of the North was being spun around like a rag doll by Floyd, who was cackling loud enough to echo off the walls.

You caught sight of the saintess in the corner, her smile strained and her fingers clutching her goblet so tightly it looked like it might shatter.

All was well in the world.

The ballroom was buzzing with conversation, the glittering chandeliers casting light on a gathering of nobles too caught up in their own intrigues to notice the storm brewing in one corner. That is, until a sharp, shrill voice cut through the air.

“You think you can just ruin my family and get away with it?” It was the girl whose arrogance had gotten her father fired. Her finger pointed straight at you, her expression a mix of fury and desperation.

The ballroom stilled as the girl pointed her trembling finger at you, her voice shrill enough to shatter glass. "You think you can destroy my family and just walk away? You're nothing but a tyrant with too much power and zero empathy!"

Her father, standing nearby, was frantically gesturing for her to stop. “D-Dear, perhaps we should—”

“Shut it, Father! I’m handling this!” she snapped, tossing her poorly styled curls over her shoulder. She turned back to you, eyes blazing. “Everyone should know what kind of monster you are. Workplace harassment! That’s right—I said it!”

Before you could even process the absolute absurdity of the accusation, the Duke of the North stepped forward like some knight in an overwrought romance novel.

“You will not speak of her in such a way,” he declared, his voice booming with righteous indignation. “The duchess is a paragon of nobility and grace!”

The crowd collectively oohed, but before you could roll your eyes hard enough to dislocate something, the Saintess shot to her feet, looking utterly scandalized.

“This man,” she hissed, gesturing wildly at the Duke, “didn’t even fight for me, his divinely chosen match, but now he defends her? A woman who flaunts her defiance of heaven’s will? Blasphemy!”

“Blasphemy?” you muttered under your breath. “Blasphe-you, lady…”

Unfortunately, the Balding Prince chose this moment to stumble into the fray. “Uh… Are we…arguing?” He puffed up his chest, desperately trying to seem relevant. “As prince, I demand order!”

You took one look at him, with his shiny scalp gleaming under the chandeliers, and decided he wasn’t even worth the effort.

Meanwhile, Jade, ever the picture of composed menace, sidled up to your side. His eyes locked onto the Duke’s hand, which was still resting on yours. With a polite but firm gesture, Jade brushed the Duke’s hand away as though it carried the plague.

The Duke looked affronted. Jade just smiled. But it wasn’t a nice smile. It was the kind of smile that promised future inconvenience.

You, however, had officially hit your limit. You stepped forward, raising your voice over the din. “Enough!”

The room froze. All eyes turned to you as you launched into your tirade, starting with the Saintess.

“You!” You pointed directly at her, ignoring the way her cheeks flushed with outrage. “Do you honestly think the universe revolves around you just because you’ve got a shiny necklace and a tragic backstory? Newsflash: It doesn’t. The only divine will I’ve seen is everyone’s will to avoid your self-righteous sermons. Go back to your prayer circle and spare us your dramatics.”

Her mouth opened in shock, but you were already turning to the Balding Prince.

“And you! Stop sending letters to my estate asking for potions to grow hair or stretch your bones. I’m a duchess, not a miracle worker, and no amount of magic can make you interesting. Get a personality—or at least a hat.”

The prince turned beet red, his hands twitching as though debating whether to flee or argue. You didn’t care.

You swung your gaze to the girl whose father you’d fired. “And as for you, congratulations. You’ve just confirmed that stupidity really is hereditary. Your dad didn’t lose his job because of me. He lost it because he was stealing more money than the royal treasury had left after your little shopping sprees. You’re lucky I didn’t throw both of you in jail.”

Her father, now sweating through his cravat, looked like he might faint on the spot.

Finally, you turned to the Duke. “And you. I appreciate the effort, really. It’s sweet that you think I need defending. But I’m not a damsel in distress. I don’t need saving. And, oh—” You reached out, grabbing Jade by the arm. “I happen to have a fiancé whom I adore. So maybe put your chivalry elsewhere.”

Jade, for his part, looked smug as he allowed himself to be pulled along, his composure completely unshaken.

The ballroom fell into stunned silence as you swept toward the exit. Then—

Floyd’s laughter broke through like a cannon blast. He doubled over, clutching his stomach as tears streamed down his face. “Oh my god—that was amazing—! Balding prince—hat—”

Azul smirked, hiding his amusement behind a gloved hand. “Well, that was certainly… enlightening.”

You didn’t even look back as you pushed open the grand doors. “Idiots, the lot of them,” you muttered.

As you exited the ballroom, you couldn’t help but glance up at Jade. He looked unusually pleased, his lips curling into a faint, satisfied smile.

“What?” you asked, narrowing your eyes.

“Nothing,” he said smoothly, though the twinkle in his eye said otherwise. “I simply find your methods... inspiring.”

The two of you made it past the grand doors before the realization hit you like a carriage with no brakes.

You had just declared, in front of everyone, that you loved Jade.

And he knew it. Oh, did he know it.

He walked beside you, his usual calm and collected demeanor now infused with an insufferable smugness. His smile was the kind that could sell snake oil to a herpetologist.

“Darling,” he said, his voice laced with honeyed amusement, “you’re unusually quiet. Cat got your tongue? Or perhaps you’re shy after your… heartfelt proclamation?”

You refused to meet his gaze. “Shut up,” you muttered, staring resolutely at the carpeted hallway like it held the secrets to the universe.

“Now, now,” he crooned, leaning closer. “Why won’t you look at me? Surely you wouldn’t deny me the honor of basking in the gaze of my beloved?”

Your face burned hotter than the ballroom chandeliers. You covered it with your hands. “Leave me here,” you said dramatically. “Leave me here to rot in peace.”

Jade chuckled, and it was the kind of sound that sent shivers down your spine—warm, teasing, and entirely too pleased. “Why on earth would I do that?” he asked, his tone deceptively innocent. “Especially when my beloved looks so… endearing in their embarrassment.”

You peeked through your fingers, ready to deliver some biting retort, but the words died in your throat.

Jade’s expression had shifted. He wasn’t just amused anymore—he was smitten. The way his mismatched eyes softened as they looked at you, the faint smile that carried more affection than smugness, the subtle tilt of his head like you were the most fascinating thing in the world—it was all too much.

“Stop looking at me like that,” you grumbled, your voice weak.

“Like what?” he asked, feigning ignorance as he gently reached for your hands.

You tried to resist, but he was insistent, pulling them away from your face with a tenderness that made your heart ache. Before you could think to stop him, he leaned in and kissed you.

It wasn’t just a teasing peck to rile you up—it was slow, deliberate, and completely disarming. You melted against him, any thoughts of resistance dissolving as you instinctively pulled him closer.

When you finally broke apart, breathless and slightly dazed, you couldn’t help but think that maybe—just maybe—this book wasn’t the irredeemable mess you’d always thought it was.

After all, it had given you him.

The decision to expedite the wedding wasn’t exactly born of romance. It was born of the Duke’s increasingly deranged letters, the last of which included a poem so long and melodramatic it might as well have been a novel in verse.

Jade, to his credit, only raised a single brow at your muttered curses as you ripped the latest letter into confetti. “Darling,” he said mildly, “perhaps this is a sign to finalize our own arrangements before our dear Duke decides to recite his poetry at your doorstep.”

You had agreed, of course, which led to your current predicament: drowning in swatches, floral arrangements, and pamphlets for curtains—curtains, of all things.

“This one feels too garish,” you muttered, holding up a deep crimson drape. “But this one’s too boring,” you added, pointing at a pale beige option. You groaned and flopped back in your chair, glaring at the wedding planner. “Why is there no middle ground? What am I paying you for?”

The poor planner looked like he wanted to crawl under the table and never come out. Before you could unleash more frustration, Jade plucked the pamphlets from your hands with infuriating ease.

“Enough,” he said, his tone firm but fond. “You’ll give yourself gray hairs fretting over curtains. We can always elope, you know.”

You gaped at him. “Elope?”

His smile turned mischievous. “Yes. A quiet ceremony in the woods, perhaps, with only the birds as witnesses. Far from meddling Dukes and curtain debates.”

For a moment, you almost entertained the idea. But then you shook your head, laughing softly. “I suppose I’m being a bit dramatic.”

“A bit,” Jade echoed, though his teasing lilt softened as he leaned down to kiss your forehead. “You don’t have to do this alone, my love. Delegate.”

The wedding planner, who had been cowering behind a stack of color charts, practically lit up. “Oh, yes! Delegate! Please, delegate!”

You sighed, leaning into Jade’s touch. “Fine. You’re in charge now.”

The planner looked as though he might fall to his knees and kiss Jade’s shoes in gratitude. Jade, ever the picture of elegance, merely chuckled.

“Excellent choice,” he said smoothly, guiding you away from the table of chaos. “Now, let’s find something far more enjoyable to argue about—like the wedding cake flavors.”

As you walked away, you couldn’t help but marvel at how easily Jade managed to turn your stress into something almost enjoyable. Perhaps rushing the wedding wasn’t such a bad idea after all.

The room was an over-the-top vision of wealth: chandeliers the size of small planets, flowers flown in from who-knows-where, and a cake so tall you were half-convinced Floyd could climb it and look smug doing it. Every noble in the kingdom was here, decked out in silks and sequins, pretending they weren’t secretly gossiping about you and your eel fiancé.

You barely noticed. Jade was standing in front of you, looking so unfairly ethereal you wondered if the universe had been playing favorites. His mismatched eyes were locked on yours, and his smile was small but so genuine you almost forgot your carefully planned vows.

Then, of course, chaos. Because how could anything in your life go smoothly?

From the back of the ballroom came a loud, wet, obnoxious wail.

“Oh, for the love of God,” you muttered under your breath, and Jade’s lips quirked in amusement.

“I LOVED HER FIRST!” the Duke sobbed dramatically, his voice shaking with the intensity of his grief.

“Shut your mouth before I shut it permanently,” Floyd snapped, his voice cutting through the crowd like a knife.

And if that wasn’t enough, you could faintly hear Azul’s oily, persuasive tone somewhere off to the side. “Yes, Lord Evermore, just a tiny signature on this insignificant little contract. You’re not using your soul for much, anyway, are you?”

You pinched the bridge of your nose, biting back a laugh. This wasn’t just a wedding—it was your wedding. Of course it was going to be chaotic.

But when you looked up, there was Jade, his gaze steady and full of a quiet devotion that made the rest of the madness blur into the background. His vows were perfect, as expected, and when it came your turn, you stumbled over the words a little, because how were you supposed to focus when he was looking at you like that?

Then came the kiss.

Jade dipped you in one smooth motion, his lips brushing yours with a tenderness that sent the room spinning. Applause erupted, and you swore you heard someone sniffling behind you.

“Is the Duke crying again?” you murmured against Jade’s lips.

“I believe Floyd threatened him,” Jade replied, far too amused.

“And Azul’s... oh no, is he signing contracts?”

Jade only smirked, kissing you again. “Should I be worried that you’re more interested in their antics than your new husband?”

“I’m not—wait, husband?” You blinked at him, the word sinking in, and for the first time in ages, you felt completely, blissfully happy.

As you stood there with your chaotic, ridiculous found family around you, you couldn’t help but smile. Sure, your life had taken a turn for the absurd, but if it brought you to this moment, maybe that cursed mushroom wasn’t so bad after all.

“Remind me to thank that mushroom,” you said with a grin.

Jade’s laughter was soft, warm, and entirely yours. “If it brought us together, I might build it a shrine.”

You laughed, pulling him closer. You’d faced chaos and conspiracies, chaos and hilarity, but in this moment, you couldn’t imagine being anywhere else.

Trash Novel Masterlist

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[the-one-who-lambs]

Anyway the problem with Lambert and Narinder in the risen lamb and the fallen god isn't that they don't have any awareness. They just, very separately, develop too much awareness and it dooms them just as much as everything else, so they both end up at different wrong answers.

Writing miscommunication is so fun but I also want to bang my head into a wall on behalf of the characters I'm very much putting through the wringer on purpose

[power-chords]

Can you please explain your dialogue theory of fanfiction?

In short, that dialogue, more than anything, makes or breaks a fanfic. What do posts like "He would not fucking say that" and "They would NOT have communication skills that good" have in common? Talk. Characters expressing themselves to one another. The faithful recreation of identifiable speech patterns is weighted heavily in the evaluation of a fic's quality. By "speech patterns" I do not just mean the semantic content of a given character's expression, but idiosyncrasies of style and slang, vocabulary and idiom, even gesture, musicality, and rhythm.

Of course believable dialogue is far from the only thing that makes a good fanfic Good. And there are forms of fic writing, particularly highly abbreviated ones like drabbles and ficlets, that in practice tend to de-emphasize its significance. But if we are talking about the romantic, erotic shippy stuff that is the meat and potatoes of online fandom, dialogue does the heaviest lifting short of the consummation itself. Arguably more so! It's the real keystone to the catharsis, and often the catalyst for it. Is there a confession occurring? A provocation? An evasion or ultimatum? Zoom out, big picture: What is the most potent and fundamental mechanic for developing complexity, tension, and transformation within a relationship, getting it to go from one thing to another? Making these two idiots talk to each other! Often clumsily and indirectly and maladaptively, at the worst possible time and in the worst possible situation, about anything or everything but what they should be — but talk they usually do.

What makes fanfic specifically so challenging and rewarding in this regard is that the talking is as much a feat of translation as invention, because both reader and writer are working off an existing model. Liberties taken with plot, form, and even narrative voice have wider buffer zones; you can get creative with circumventing the events of canon while still conforming to its emotional and substantive essence.

But the training wheels come off the moment you open your mouth to speak in another character's voice. And man, nothing will break a reader's immersion quite like he would not fucking say that.

[theglassesgirl]

The Ithaca Saga: What IS a Monster, how it’s presented, and when fictional S.A is integral to the plot.

So -

This was originally a response to @ / anniflamma which you can still find on my page unedited. But with the new discourse surrounding the suitors, I figured I could retool it as a standalone essay to express a topic I’ve been trying to pin down for a while now; What exactly does the mean when they call a character a monster? What do they do, do the reasons matter, and how does the subject of rape affect how the fandom consider some monsters more unforgivable than others? When IS rape in fiction “necessary” and why such questions defeat the purpose of exploratory creative works.

In this post we will discuss all the major antagonists of the Epic Musical, Penelope’s agency, the label of Monster and the types of moralizing one might do when faced with uncomfortable subjects in fiction and how to prevent these feelings from blinding is about what a story is trying to say.

For those who read my original response; there’s new content to read here and posts that will be referred to, if you’d like to give it another gander!

Thank you,

Let’s begin;

I think making the threat of rape explicit was very much needed, actually.

It’s come to my attention that there are people here and on tiktok who are so uncomfortable with the subject matter in this CENTURIES old tale that they’re both refusing to accept that it plays an important part in the original poem and musical, AND are bizarrely insisting that Jorge should have magically done away with it to make more palatable.

This is beyond juvenile - it’s a clear sign of media illiteracy.

What, if I may ask, do you think it means when you say that the suitors are going to force Penelope to choose one of them to marry.

You may respond that they want to take over Ithaca. That they want to be king. But take a moment to consider what forcing a woman to marry one of them will entail. I wonder if you think that one can divorce the idea of sexual violence in this plot.

It would be…unfathomably difficult to do so. Because you CANT. There is an implicit threat of Penelope’s will breaking and having to have unwilling and reluctant sex with any one of them in the event she just gave up and picked one.

This isn’t a storyline that depicts Penelope of being willing to marry any of the suitors. She is WAITING for her husband’s return. Even if he doesn’t, she doesn’t WANT to marry someone else. Her consent is being violated by the very merit of them being in her palace, eating her food, and threatening her son.

They’re doing ALL OF THIS in order to bend her will in the HOPES of raping her as a bonus to becoming king of Ithaca.

My contention is the use of “unnecessary” when it comes to this trope in media - though themes of rape can be uncomfortable, to call them unnecessary HAVE to meet certain criteria. Which this specific instance doesn’t.

By observing various responses, it’s clear that the threat of rape went completely over many’s head in this instance of the story. So I very must appreciate Jorge making it SO clear that it’s upsetting.

This part of the odyssey, and the musical, is very much about Penelope suffering under the threat of assault for YEARS. In the same way Odysseus was (a thing I touched upon in my calypso essay, in terms of his ambiguous situation in the musical) - it’s a parallel that works as both Antinous and Calypso were introduced (regardless on your personal interpretation of what Calypso did or did not do, but that’s neither here nor there).

It has taken an emotional and psychological toll of either spouse. And the kicker is that neither of them are freed of this situation on their own - they are both rescued by outside forces. Athena/Hermes helps free Odysseus; Athena/Odysseus will help free Penelope.

The looming threat of rape is SO necessary that it helps the catharsis factor we feel toward PENELOPE’s story - it’s nothing to do w Odysseus who by now is a force of nature as big as Poseidon, his actions happen TO her, and it’s up to her to decide (per “would you love me” ) what she feels about that. She can very well reject him! She’s suffered under male violence for YEARS. Odysseus’s violence and those of the suitors toward her are basis enough for the comparison.

Do all men, including her husband, become violent? Does she want to put up with that? We know from her song snippets that she is NOT a woman that simply succumbs to the Rape Rescue trope as suggested by ignorant consumers of media - and I call it ignorance and consumerism because there’s a clear lack of engaging with the material in an intuitive way. It’s just blind consumption - as if one bites into a burger and find a pickle, which you personally don’t like, and having it removed - you can’t treat ART that way .

Penelope is a very intuitive and emotionally intelligent queen. Stop infantilizing her. Her own husband suggests that like the suitors, his actions make him just as bad as they are and presents his hope as being understanding if she rejects him on those grounds. But those ARENT her grounds. She has full autonomy and can make a distinction FOR HERSELF whether she considers her husband equal to the monsters who have harmed her.

So let’s talk about the “Monster” label as it is presented on the entire musical.

Some have erroneously suggested that Odysseus has been given an out to commit cruel and ruthless deeds with out “good justification” - he does it for his family,, after all!

Which is a misunderstanding of everything every antagonist of each saga has done.

Let’s start with the Troy Saga: Odysseus has killed a BABY. He made the choice to put his family over this child. Everything he has done and lost would be for literally NOTHING if he hadn’t, as even if he had killed the suitors and regained everything - the GODS themselves would make sure that child would come to an aged Odysseus and slaughter him, Penelope, Telemachus and his entire kingdom when he came of age.

Odysseus STARTS as a monster. We have been rooting for the man who laid Troy and its children asunder. As such, the label of a monster is NOT so much a morally subjective label - it simply a thing that IS. Or rather. It is what ALL the antagonists ARE, but it’s hardly a condemnation of any of them.

(Peep that one of the first lines Ody says refers back to in the Vengeance Saga is what he did to Troy - he STILL views his actions over there as unforgivable, so not even HE will ever see himself otherwise, the problem was that he felt so guilty over it that he became a detriment (a different kind of monster) to his friends and family when they were all guilty of the same thing and trying to get home.)

ALL of the antagonists have a “good reason” to kill ALL the soldiers (who again, have looted and slaughtered the Trojans) Odysseus and his close friends included. Whether your AGREE is almost irrelevant…because the story itself proposes that it’s irrelevant.

The next saga introduces the cyclops: his motivation is primarily that his FRIENDS the sheep have been slaughtered. You can argue in the scope of things, you can’t empathize with this but it’s his good reason. He’s the son of a god, and these sheep are all he has. His friends, who matter to him as much as Polites does to Ody, are being taken and slain, he is being drugged, attacked and maimed. VERY much was Ody goes through in the final saga. And even so.

The Cyclops is antagonistic to the party, he’s a monster who feels justified killing to avenge his killed sheep. A monster is a thing he IS.

As Poseidon’s son, he asks his father to kill the 600 men who have ransacked his home and beat on him. He doesn’t view his father as being wrong for this. In the same ways Ody and Telemachus don’t waste any time addressing the slain suitors later on. Poseidon is a monster of a god - it’s just a thing he is. Not even being stabbed 100 times is enough to repay the harm he’s done - to most everyone, not just Ody, but we are not asked to quantify that. Just live with it.

Circe has killed NUMEROUS men over the years. HER “good reason” is that something bad happened to her nymphs when she let a stranger in her islands. She doesn’t even promise that she WONT kill in the future - her song ends w the suggestion that the world may continue to need her to puppeteer! Because she does not exist to be “redeemed” - she is somewhat more reasonable and capable of empathy than even the likes Athena, who being a greater and more powerful god, does not have the one on one affection to her follows as Circe does. She’s a monster! It’s a label, a thing she IS.

So here we begin to ask; is it LOVE that gives people the capacity to do monstrous things? Because the cyclops loved his sheep friends, Poseidon loves his son, Circe loves her nymphs.

And by now you’re saying now wait a minute didn’t the Underworld Saga go over this? Why yes it did! And Odysseus decides to “become the monster” - he already IS one by the standards of the cyclops, Poseidon, Troy - they all see him as a monstrous being. But he accepts that, after being one in Troy, he held back and ruined the lives of his men, making him a monster to THEM. His “good reason” for being so!

He attempts very hard to be the General he was in Troy and prioritize them going home, sparing no sympathy towards his enemies - but in the Thunder Saga we see the gods further push him to be completely self-serving like they are. The sun gods cows are harmed, he sends Zeus in relation - his “good reason” being his friend were personally harmed.

Odysseus’s “good reason” is ultimately decided to be the same good reason he had to slaughter the Trojans - to get back home to his wife and son.

Like with the Cyclops sheep, Circe’s nymphs, The Sun gods cows, and Poseidons son, WE are shocked and made to feel some type of way about Odyseuss’s reasoning. Surely HIS personal suffering shouldn’t cost the lives of “innocent” men…but it does! It surely does.

He is a monster. It’s just a thing he IS.

Now, Odysseus spends the next seven years under the thumb of ANOTHER monster. And through calypso own reasoning, despite her tragic backstory, her “good reason” she IS a monster. She’s incapable of understanding why she wasn’t reciprocated. Incapable of empathizing with a human because as a god who has spent eternity alone, it stands to reason she, like all the other monsters mentioned before, prioritizes HER personal suffering over everyone else’s. In some versions she either kills herself or does spend the rest of eternity alone. She’s a monster. This is a thing she IS.

Now what the HELL does all this have to do with the suitors?

Odysseus started the musical a MONSTER. He’s worn different hats, but it is what he IS. It’s a label, not a moral critique.

ALL of the antagonists of every saga have a “good reason” NONE of them are ruthless for ruthlessness sake! It’s immaterial whether you agree with them or not, but to understand them for what they are.

Odysseus is the antagonist of the ithica saga, md while the suitors are the antagonist to him and his family, we see their fate form THEIR POV

The suitors could not have been depicted as “rude youthful men” like Telemachus. That Odysseus killing them should be shocking - a frightening condemnation of everything he’s done and became. But I ask once again - in what world are the suitors not implicitly set up as monsters?

Because again. They aren’t being rude for rudeness’s sake! They aren’t JUST eating Penelope’s food and sleeping in HER house. Them threatening Telemachus, as you propose, isn’t “enough” of a reason because they didn’t wake up one day beefing w this boy. Everything they do is for the express purpose of sexual violence towards the Queen of Ithaca, who upon assaulting, will make it so any one of them will be King.

You can’t separate the one from the other. You get a nonsense scenario. The whole REASON they’re there in the first place.

Even if you create a fanfic where 108 men wake up one day and raid the palace to slaughter the royal family with no intent of sexually assaulting either (because remember Telemachus is also the subject of Hold Em Down) and then fight amongst themselves to be the next king, but then isn’t that STILL a “good reason” for Odysseus to slaughter them?

Now I hear what you may be asking: but if all the monsters of the sagas, Odysseus included, have a “good reason” even though we might not agree with it, what kind of monsters does that make the suitors? Surely and clearly THEY aren’t doing what they’re doing for noble reasons.

I consider them akin to the 600 men who died under their captains command.

Because, as stated before. Odysseus views his actions in a Troy as his start of monstrosity. He did all that to finish the war and do back home. He ruined the lives of all Trojans.

So did his soldiers.

The only moment in time (even in the deleted songs) that the bulk of them repent about the war is in terms that it left them without food.

But glasses! They were just following orders!

Which is what one of the suitors suggest in song 38. Their serpents head is dead, THEY were just going with Antinous’ flow, they are innocent.

Like the 600 soldiers, the 108 suitors sacked a home that wasn’t theirs and harmed a wife and child - does them being the queen and prince pale in comparison to the hundreds of wives and children slain in Troy? Homer is a genius to ask us to see these parallels for what it is.

The suitors ARE monsters. That is simply what all 108 of them are. In the context of the story itself, their intent is to break Penelope’s will, commit martial rape, and become king of Ithaca. They aren’t there for kicks, they aren’t ignorant boys, they’re socially accepted adults abusing the hospitality rule with an express purpose.

So a GROUP of monsters are slaughtered by ANOTHER monster, and though in this instance we can argue it’s morally justifiable, it doesn’t take away from Odysseus’s fear of being rejected by his family. He has ruined the lives of the Trojans, his men, AND multiple gods! To get to this point. He IS a monster. And the story asks US, through Penelope, if he is still worth loving.

Seeing Penelope as merely his reward is so backwards and bizarre. It’s very clear that bad faith interpretations of her are based on objectifying her erroneously, when the narrative presents her as a fully developed character.

In the story both in the poem and the musical that the suitors ARE NOT her guests. She is being sequestered against her will.

In what world could the suitors be “just” murderers and not….very clearly rapists? It’s BUILT into their motivation. You would have to change the very FOUNDATION of the Ithaca plot line and Penelope herself??? To say nothing of Telemachus’s role!

What’s the proposal here? That Penelope invited these suitors? That’s she’s actively looking for a replacement husband? Okay, again, that changes literally SO MUCH of the story, but wouldn’t that put Telemachus in a position where he too has to change? Does he resent his mother for doing this? Is he helping his dad out of spite or because he wants him back? How are we meant to view Penelope in this radically new and hip Epic the Musical? Is she savvy and in her right to choose a new boo? Okay…okay, so then….you want Odysseus to be the only one unchanged and go axe crazy because….hes jealous? He kills these upstanding men….curtain call. That’s all folks!

Absurdity at its finest. You throw Penelope’s agency out the window. Her weaving and unweaving her loom is meaningless or simply doesn’t happen. Or maybe it’s that she wakes up one day and goes hey yknow what I WILL consider marrying one of these guys with no sense of dread and fear. Oh wait Oddy has killed then all! Never mind me feeling unsafe a week ago, he’s done a Bad.

Crazy.

It’s just…not going to end up making Penelope look like a well written female character if Jorge has done what you wanted! THAT would make her a mindless prop. You seem to think she is one, and that’s not the case. Historically, in fact!

She is a whole person in the poem and musical whether you understand it or not. You would have to argue so thoroughly why she sucks and let me assure you - there are entire DISSERTATIONs on why you’d be incorrect.

So, no.

No, you CANT take away the rape in Penelope’s storyline. It matters ALOT. It’s the ROOT of the matter! Could old school vegetales make something up that’s more to your sensibilities? Maybe at its peak but god, I couldn’t possibly come up with a draft that could reflect that. I won’t even try.

The rape aspect of the Ithica Saga isn’t unnecessary - it’s INTEGRAL to the plot. It can make you uncomfortable, but it’s BUILT into the royal family’s suffering whether it’s explicit or not! And it SHOULD be explicit! Because you seem to think because it usually isn’t, that the rape aspect isn’t there!

I cannot imagine coming to this kind of conclusion.

They are not random men going on a siege of the palace one day - you cannot “sanitize” the SUITORS because by the very merit of them calling each other THE SUITORS there is an implicit threat of sexual violence. Because Penelope doesn’t WANT suitors. She rejects them. They’re already violating her consent.

How the FUCK to do you censor the rape when it’s in every action they take? And I know what you’re saying: but didn’t Jorge censor the rape aspect that both Circe and Calypso commit towards him?

Further reading: suggests that ALLUDING to it is not the same as censoring, that it still FITS the PURPOSE of these characters in regards to Odysseus’s suffering under them. That after ambiguity, it is NECESSARY to make the rape aspect CLEAR in order to create both catharsis and MEANING at the end of the narrative. The THEME is still respected and present, it is not REMOVED. Please consider reading the linked follow up that answers this question.

In short.

It’s truly a matter of using one’s goddamn head when it comes to view fictional depictions of rape as “necessary” - because though some depictions can be presented BADLY, to suggest they should not EXISTS lends itself to rape culture. It silences the voices of victims. Its representation denied. Don’t talk about it, don’t even suggest it, because rape is bad.

It’s an action that happens to people. It’s a crime in civilized society. It’s a physical and psychological trauma that has always been. It happens daily, in fact. Though epic the musical is a source of entertainment for you, it doesnt exist solely for that purpose.

When Homer included it within his original oral story, he did so as a storyteller trying to get his audience to philosophize, not simply have fun.

I think we’ve come to some abysmal conclusion that men can’t write about these topics when we have historical evidence of at least one man knowing what the hell he’s talking about. And Jorge has done a phenomenal job even when he hadn’t depicted blatantly.

If you’re uncomfortable to the point of not wanting to see it at all, that is entirely on you, art and creative works allow us to explore these topics safely. Whether it’s from the POV of the assailant or one of the victims commenting on it, fiction is one of the only places we can talk about it and learn about ourselves in a way it doesn’t harm real people.

I don’t even want to BEGIN discussing all the losers who are still harassing Antinous fans or people who genuinely enjoy his song despite/BECAUSE of the subject matter. Its purpose in the story matters more than you policing how it’s presented and how it’s consumed. No amount of people enjoying themselves will take away the foundational POINT of the character and song. It’s perfect the way it is.

Like with the chaos that calypso discourse wrought, you cannot control how people treat a NOT REAL CHARACTER or the songs they sing - if it bothers you that one type of fictional villian is treated one way or another, it is on you to find likeminded people instead of going into others faces and pretending to be a self-righteous prick. You can throw whatever buzzwords you want, the CONTEXT these characters live in has nothing to do with how others want to play with them. If you don’t understand the difference between the two instances, fandom is certainly not for you and will not be changed to suit your sensibilities.

To end this post, I want to thank those who further asked me questions and bounced ideas off with me, and wow, what a phenomenal ending to a grandiose musical. I hope I can see it live, animated, streamed, developed into a game etc whatever form it takes now that the concept albums are published

Thank you all for engaging w my work💖

[literaryvein-reblogs]

Writing Notes: Dark Humor

Dark Comedy - (or black comedy) a genre of film, television, and literature that brings satire and dark humor to subjects that are depressing, frightening, unpleasant, or taboo.

The best dark comedies simultaneously entertain and expose corners of the human condition that make the audience uncomfortable.

Films in this subgenre of comedy create catharsis by heightening the absurdity and irony of painful subjects, imbuing them

Tips for Writing a Dark Comedy

If you’re writing a dark comedy script, there are several screenwriting tips that will help you transform your dark sense of humor into a great dark comedy.

Start from the truth. A great dark comedy approaches its subject matter with truthfulness, and the best comedy offers absurdity based in reality. No matter how uncomfortable your subject, emotional honesty is necessary if you want the story to resonate.

Build three-dimensional characters. Many writers populate comedic films with two-dimensional characters who exhibit funny quirks but rarely experience growth or change. That works for farces and slapstick, but given how bleak dark comedies can be, it helps to have three-dimensional characters who tackle serious subjects in human ways. Of course, you can still write these characters into situations rife with black humor.

Push boundaries. Even if you're committed to grounding your story in truth, you can still push boundaries into the plausibly ridiculous. Sinister subjects and gallows humor make for a memorable genre film, and you can write dark comedy within the realms of sci-fi, fantasy, and horror and still maintain a sense of authenticity.

Know your ending. Even the funniest comedy writers need space to brainstorm comedies with serious topics and dark subjects. Even as you explore plot twists, make sure you always know where the story is going. If you stack a dozen dark humor jokes on top of each other, you might write yourself into a corner with no satisfying way to reach a conclusion. So make sure you have a plan. Indulge in funny ideas as they come to you, but leave yourself a way to bring all the funny threads to an organic resolution.

Examples of Classic Dark Comedy

Hollywood has produced a wealth of dark comedies, the highlights of which include:

Dr. Strangelove (1964): This dark satire from director Stanley Kubrick skewers the arms race at the heart of the Cold War. Though the subject matter (impending nuclear annihilation) couldn’t be more serious, the tone of the film is characterized by slapstick and silliness.

Fargo (1996): Perhaps the most celebrated of Joel and Ethan Coen’s many films, Fargo is a sometimes hilarious, sometimes very dark tale of a kidnapping gone wrong. The Coen brothers handle unsettling subject matter in this film with a level of understatement that, at times, is jarringly funny.

Pulp Fiction (1994): Like the best dark comedy movies, this genre-bending Quentin Tarantino film deals with touchy subjects like drug use and violence yet maintains an upbeat energy that keeps it from ever getting too bleak.

M*A*S*H (1970): Robert Altman’s comedy later inspired a TV sitcom. Set in a military barracks during the Korean War, the film debuted in 1970 at the height of the Vietnam War and touched on the absurdity of war in a time when Americans were actively being conscripted into military service.

Harold and Maude (1971): On the one hand, director Hal Ashby’s Harold and Maude is an unlikely and odd tale of an intergenerational romance. On the other hand, it's a stark meditation on death. As a dark comedy, it succeeds in both its aims.

Source ⚜ More: Notes ⚜ Writing Resources PDFs ⚜ Dry Humor

[feyburner]

hello, i hope you're doing well, the world keeps getting crazier which means that i'm spending more time on fanfictions and i've been thinking about your jaytim fics. particularly, jason and how human he is when you write him. his awkwardness bc he was dead for a while and then doing. not very good. and how he probably has to catch up on simple stuff like who even taught him how to shave??? sure he learnt how to wire bombs but that didn't leave much time for stuff like sexuality and romance? just some experiences that he was robbed off. also very much interested in your take on jason's morality re: killing and what it means to him. anyways i'll dive back into my jason comic marathon <3

God yeah I think about this all the time, it's one of the things that interests me most about his character. Like how fucked up to die at 15 and wake up at like 18 and immediately launch yourself into your big crazy revenge plot that you think it's going to make you feel less howling animal inside but all it does is destroy your chances at ever having like, a normal interaction. By the time you calm down a little you've basically skipped from 15 to like 20. And everyone around you is also a freak who will never live a normal life and some have even also died but you're the only one missing a huge chunk out of your formative years. (Don't care about conflicting canon timelines or retcons.) (I also like this on a meta level bc it mirrors the fact that Jason was For Real Dead from 1988-2005.)

Re: morality, killing: A lot of his character is about catharsis to me. He is hotheaded and impulsive and direct and unsubtle (see: heads in a duffel bag) in a way the other Bats aren't. Who among us hasn't seen a news story and thought "I don't believe in state-sanctioned violence but damn, someone should kill that guy"? He is the guy who kills that guy. And sometimes it's for "noble" reasons and sometimes it isn't, and sometimes he might like to think it is but it isn't, and sometimes it immediately backfires and makes things worse for the people he is trying to help, and it can and has made him a hypocrite. It is also, I believe, an understandable stance for someone who was murdered as a child by a guy famous for essentially walking around wearing a T-shirt that says "I Love Hurting and Killing People (and I'm Definitely Going to Do It Again)." Bruce doesn't kill people because senseless violence made him an orphan. Jason kills people because senseless violence made him dead. Of course a child who lived and a child who died would look at death from opposite sides. It destroyed both of them at a formative age in opposite ways. Bruce crystallized around the after, and Jason around the before. I think it makes perfect sense that for the rest of their lives they would keep seeing only the after, and only the before, and in doing so keep looking past each other.

I feel like a lot of Jason meta is either "The Bats are so naive, Jason is the only realist" OR "Here's why Batman is right and Jason is an irredeemable monster" or whatever. Neither of those readings are compelling to me. I don't care which character is "right" or "good." If I wanted to read about good people making morally airtight choices I would go read Goofus and Gallant but only the Gallant parts and then kill myself. None of the Bats act in a way that aligns with my real-life morals. I think the "killing question" is most interesting viewed in the context of an individual character's relationship with violence and justice and atonement and forgiveness and consequences and least interesting in the context of pitting characters against each other to determine Who's Right and Who's Wrong.

I wrote the following exchange a while back as an exercise to explore this very topic.

Warning for CSA mention below the cut.

-

“I mean, hell, what if he got hit by a bus? Anyone can die, any time. Think of me as a big angry red bus.” Tim’s eyes on him feel like burning, but not so immediate as fire. More like the warning heat of sunburn: for now a faint prickling, for weeks after an ache. “End of the day? I don’t think he should be alive. I don’t think the state should get to decide who lives and who dies, but I’m not the state. And I know people can be rehabilitated. I know there’s a chance he could change, and never do it again, and spend the rest of his days saving kittens and helping little old ladies cross the street. But from what I’ve seen, this kinda guy, we’re talking a puny fucking chance. There’s people the system fails and people who could be helped by a better system and then there’s people who aren’t gonna fucking change. They’re just gonna keep doing awful shit, because it gets them off. Hurting kids. Hurting anyone they think is less powerful, or less of a person. Fuck that. The thing is, I know they’re people. And I’m a person too. And I don’t have the fucking right. To be the arbiter of fucked-up justice or whatever. But you know what? I can’t find it in me to give a shit. If those scumbags wanna kill me back, they can have at it, that’s their prerogative. Until then, some fuck rapes a five-year-old? No, fuck that. What if he does it again? He’s already done it. Hurt that kid forever. Snuffed out that thing inside them, whatever it is that makes kids think the world isn’t a shitshow. Can’t unring that fucking bell. Why should he—once was too many! Don’t you get it? That kinda guy—once was already too many! Why should he get to do it twice? And so fucking many of ‘em do it twice. Can’t keep your hands off a little kid? Fuck you. Headshot. Problem solved. You can’t change my mind about this, Red. I didn’t make the choice to kill people on a fucking whim. I thought about Hell and decided I’m up for it. Alright? Fuck off.” 

“You don’t have to convince me.” 

“And another thing—” His mouth clicks shut. “I—what?” 

“I said you don’t have to convince me.” Tim examines his glass, tilting the last swallow of watery gin back and forth. “If I were going to argue with you, I suppose I’d quote a statistic about how something like 93% of childhood sexual abuse is perpetuated from within the immediate family, and killing the abuser could drastically destabilize the child’s living situation and potentially place them at risk for other types of harm—”

“There’s nothing stable about—!”

“—but I’m not going to argue with you, because I don’t want to, because frankly I don’t care. I should—some days I’m better, and I do—but I don’t at the moment. Not tonight.” 

Jason stares at him for long enough that Tim grows visibly uncomfortable, shoulders stiffening. 

“What,” he says, eyes darting up to Jason’s, then away. His long fingers never stop playing with the glass, rolling it slowly, tracing the same wet circle on the tabletop. Jason wishes he would just finish his drink. And hold still. 

“You don’t care,” Jason repeats. “Great. Namaste. So what’s with the interrogation?”

“Interr—?” Tim looks startled. “Jason, I was asking.”

-

So yeah.

[tritoch]

the witch of the cave: matoya, y'shtola, and the night's blessed

long rambly and extremely unedited post about y'shtola and matoya, two characters i really feel like we don't talk about or take seriously enough. i think the popular (and in many ways intended) perception of FFXIV as a game about dramatic high-tension moments and attendant emotional catharsis makes it easy to overlook the fact that there's plenty of subtext to mine from, especially for characters like these two who can come off as somewhat reserved and also have very little screen time together. i find the night's blessed very helpful for thinking about them both. spoilers through endwalker below. tl;dr version of the post can be found by reading the bolded text below.

on my first playthrough the whole rak'tika thing felt very underdeveloped, and i still think a lot of the story beats are weak. here's y'shtola she's your last member to rejoin she has a new village now(?) and OH she's dead again WAIT she's back and then we're off into "zodiark and hydaelyn are primals" land and there's no time to think anymore about the night's blessed. but on reflection i think this works out okay imo because the night's blessed are only just barely there for plot reasons. they serve instead, like the outfit redesign, to establish the game's new baseline concept for who y'shtola is going to be as a character going forward. the night's blessed let the writing shorthand a lot of y'shtola's off-screen development and set her up as a powerful and extremely self-actualized person, using matoya as her foil.

in brief: matoya is implied to have lived her life prior to the sharlayan exodus constantly at odds with the (imo obviously sexist and hide-bound) forum. as a result, she was pretty isolated from and in conflict with much of sharlayan society, to the point that while y'shtola leaves with everyone else in the exodus to presumably matriculate at the studium and earn her archon's marks, matoya stays behind, with no company but her familiars.

and this is agonizingly sad, i think. 15 years alone in a cave. dravania's isolation means she has no one to talk to but frogs she has magic'ed and trained into familiars. little to occupy her but her work and her memories, and her memories of y'shtola are so painful to her she locks them away. even when y'shtola returns to eorzea after ten years away she can't find the time to see her until the scion's issues demand it (to be fair to y'shtola, getting to matoya overland means traveling through ishgard and dravania, and prior to the calamity they're totally occupied with that and afterwards there's the whole dragon thing).

(hey also this whole thing is even SADDER when read in light of the encyclopedia eorzea text that "the day [Matoya] begins to remember her students fondly will be the day that her work ends." she won't let herself take these memories back until she retires!)

they barely talk at their reunion, and while there's some brief honest fondness from matoya early on they soon turn to their characteristic deflecting and sardonic back-and-forth for what little time they get to talk, before matoya delivers a poorly-translated and confusing warning on aethersight and exits the 3.0 story. even by the time of shadowbringers, y'shtola can't bring herself to admit that when alone in a foreign land, she took on her master's name, and neither will straightforwardly admit to missing the other. in a game full of effusive and warm relationships between master and pupil or guardian and ward, matoya and y'shtola's relationship is warm, but specifically characterized by distance and deflection, consistent with how matoya has rejected (and/or isolated herself from) others her whole life.

that's not to say there's not love there, obviously, and not all expressions of love look or the same. but this is not how y'shtola behaves elsewhere. when she visits you at the annex in endwalker, she's quite sincere and direct there, coming to you with her concerns and stating plainly that doesn't want to see you harmed, making it clear she was actively worried about how you were doing. she even pre-emptively apologizes when she fears she's inappropriately joked about your misfortunes. she's also obviously much more direct and deflects less with the night's blessed themselves, or runar, or urianger after rak'tika, or zero. she can be funny or glib or arch, but she makes no effort to conceal how much these relationships mean to her, or how she feels at any given point.

y'shtola can be sharp, she can be sarcastic, she can go for the throat or be dismissive and imperious, but she's generally not those things with people she cares about in private conversation. for a woman who makes it quite clear that she cares a lot about the image she projects to others, she is never ashamed of her own feelings or afraid to voice them, but neither is she harsh or cruel. the one time she does the matoya-style thing of being so honest and brusque it tips over to backbreakingly blunt, it's to thancred in rak'tika, over her concerns that as the sole guardian of an isolated young ward, he isn't doing enough to affirm her as her own person or to be emotionally honest and supportive of her. i have some thoughts as to why that might be; you may be able to guess what they are!

so shadowbringers sets up a parallel for the player: remember matoya in the cave, having spurned sharlayan politics, left to pursue her research and guard the antitower, a solitary hermit for fifteen years? well here's y'shtola as matoya, in a cave, having spurned the lies and half-truths of two specific sharlayan men. she initially comes off alternately distant and brusque, unable to recognize you and perhaps changed herself. the fact that y'shtola's not just the local cave witch to the night's blessed ends up being a sort of narrative reveal, and her characterization as a beloved and respected leader who feels a deep attachment to the community in turn shows how much she's grown and surpassed her mentor. (and note in turn urianger, over there in fairyland pretty much actually doing the matoya thing except, in accordance with his whole deal, in a way that is both slightly healthier and much weirder).

and there's narrative payoff for this: y'shtola, having been fairly closed-off and mission-focused up until now, flings herself into a fucking pit and casts "hope this doesn't kill me lmao" the very second she learns the night's blessed have been harmed and she has a chance to save them (and that's not a romance thing; she has no idea runar's been harmed. she only knows the villagers of slitherbough have been poisoned, and an antidote exists). and from her (annoyingly obviously fake) death you learn that she isn't just valued and respected by the community, but has formed close enough relationships for people to feel real and deep attachment to her.

y'shtola notes at several points that she and master matoya dedicated their lives to the pursuit of truth above all else. but in the end y'shtola was also a student of louisoix, a man who far valued compassion for the plight of others above all else (and, not for nothing, he's not exactly #1 parent/guardian/mentor of the astral era either). in rak'tika, all the finest qualities of y'shtola reach a kind of culmination. the relentless pursuit of what is true and what is right, but as part of a healthy, caring community, without the isolating and painful pride of her mentor. and she sacrifices nothing of herself to attain this. she is exactly who she was before rak'tika, if anything a little more brusque. she's even still a little withholding about herself, noting that she cultivated an "image of restraint" among the night's blessed. but none of this interferes with her ability to be a powerful and respected and admired leader of a close-knit community.

and again none of this is really a critique of matoya, who i have enormous affection for as effectively the game's only representation (until endwalker) of an older woman in STEM. but she is a product of what her circumstances allowed: where matoya, as a sincere believer in truth, had only rivals in a deeply conservative and isolationist society, y'shtola, carrying forward the same principles, has friends and comrades in an increasingly open and free world. she turns her mentor's unflinching honesty from an alienating political weakness into a pillar of both slitherbough and the scions. matoya's self-imposed exile from sharlayan is, by her own acknowledgement, petty and in some ways goes against her own values. and listen you've gotten far enough in this rambling, we can all be real for a second: matoya is definitely kind of an asshole and went into self-imposed exile and sealed up her research because of a disagreement with the Forum over weapons development. y'shtola's leveraging the integrity and searing honesty she learned from matoya to far more altruistic ends!

i think a lot of players have a vision of y'shtola somewhere on a continuum from badass avatar of destruction to powerful and solitary archmage. and i agree that's cool as hell but i also think ffxiv is a game that believes, at its core, that community is one of the most important things in the world, both in terms of what it can do for a flourishing society and as a critical element for people to find value and fulfillment in their own lives. y'shtola developing her own close attachment to a community in shadowbringers is meant to serve as shorthand for how she has come into her own as a person and found a fulfilling and meaningful life in line with her ideals, living up to matoya's ideal of all knowledge existing to advance mankind. it is no coincidence that this happens at the same time as she goes from "a pretty good mage" to being consistently portrayed as one of the more powerful mages in the setting and the scions' magical powerhouse. the genre trappings and the character arc work in harmony.

i think what this means becomes a little clearer set against characters like thancred (who spends 5.0 getting to "can have a mostly emotionally honest conversation with his surrogate daughter and make her feel loved and valued") and estinien (who, after twenty years living in and dying for one walled city, had one of the worst months anyone has ever had and ever since can't be in the same place for more than two seconds). their permanent states as vagabonds reflect their lack of close ties (what with all the tragic death) and still-healing emotional wounds. by contrast, y'shtola has achieved the wisdom and grace to live life as part of a connected whole, and has found a way to bring her values to bear in all parts of her life and in her leadership of this community, in so doing improving the lives of herself and everyone around her. y'shtola doesn't settle down with the night's blessed as a natural progression of her life or as a precondition to her maturation, but instead is capable of forming this kind of attachment to the night's blessed precisely because she has developed the integrity and emotional honesty to live in accordance with her values. and she can cast LB3 meteor in cutscenes now.

and also, conveniently, this is done in a way that lets them shorthand/off-screen a lot of this arc and do the rest of it with very minimal screentime for y'shtola and it has an associated romance subplot and also conveniently she's immediately severed from this important community so she can stay footlose and fancy-free in the protagonist group and Isn't It Funny How Scion Women Settle Down Or Die While We Keep Accumulating Permanent Bachelors, I Just Think It's Funny. obviously none of this is above critique. but i think the narrative takes pretty seriously the idea that y'shtola is actually the team's most emotionally developed and mature member in a lot of ways and slitherbough is where a lot of that starts, and you can't understand all that without matoya.

[physalian]

The Hero with Dead Parents is not Cliché, it’s Necessary

The staggering number of protagonists in sci-fi and fantasy with dead parents grows every single year. Frodo Baggins, Harry Potter, Luke Skywalker (before the retcon in ESB), almost every Disney Prince and Princess, the Baudelaire children. Beyond the realm of fantasy into action, thriller, romance, mystery, slice-of-life, and bildungsromans.

Dead parents, or parent, is the curse of being the hero of the story and for a very good reason:

Parents are inconvenient as f*ck.

Unless the mom and/or dad is the villain of the story or the entire story is about the relationship with the parent/parents, the “dead parent” trope serves many purposes and while it may be “cliché” that doesn’t mean this trope is bad or, in my opinion, overused.

It’s one less liability the hero has to worry about protecting

It’s one less obstacle in the hero’s path to their adventure

It’s one (or two) less characters to find excuses to stay relevant in the story

It’s a juicy backstory a lot of people can relate to

Trauma. Is. Compelling.

It’s an excellent motivation

And their murder is an excellent inciting incident

Living parents and guardians get killed off both for internal plot reasons, and meta writing reasons: Living parents are a pain in the ass to keep up with. You’re stuck with a character your hero should still keep caring about, keep thinking about, keep acting in relation to how their actions will be seen and judged by that parent. That parent becomes an obvious liability by any villain who notices or cares.

Living parents can of course be done well, unless they’re the villain, but they just kind of sit there on the fringes of the plot, waiting around to be relevant again and they kind of come in four flavors:

There when the plot demands for pie and forehead kisses (Sally from Percy Jackson)

A suffocating but well-meaning obstacle in between the character and their independence trying to do right (Abby from The 100, Katniss’ mom from Hunger Games, Spirit from Soul Eater)

A mentor figure (Valka from HTTYD 2, Hakoda from ATLA)

The only rock this character has left (Ping from Kung Fu Panda)

*Notice how many of my examples lost their partners shortly before or during the plot, thus still giving the hero the “dead parent” label.

Most of these are self-explanatory so I’ll say this:  I think this trope gets exhausting when the parents are written out without enough emotional impact on the hero. These are their parents and a lot of the time, the emotional toll of losing them isn’t there, like just slapping a “dead parents” sticker is all you need to justify a character’s tragic backstory and any behavioral issues they might have.

Like, yes, the hero has dead parents, but you still have to tell me what that means to them beyond obligate angst and sadness. When the “dead parents” trope reads as very by-the-numbers, usually the rest of the story is, too.

How present the parents were in the character’s life should be proportional to the death’s impact on the narrative (as with any character you kill off). If they were virtually nonexistent? No need to waste a ton of time. If they didn’t matter to the character before, they don’t need to matter now unless the plot revolves around some knowledge or secret their parent never shared.

Sometimes, the hero’s dead parents are a non issue. Frodo being raised by Bilbo doesn’t impact his character at all. It’s a detail given and tossed away. On the other hand, sometimes the entire centerpiece of the work is revenge/justice/catharsis surrounding the parent’s death—Edward and Alphonse Elric’s entire story is defined by the consequences of trying to bring their mother back from the dead.

As someone who kept one of my protagonist’s parents alive and didn’t make them villains just to spite the trope, I have all the more respect for this enduring legacy of fiction. You can of course keep the parents alive, but I don't think it's seen as lazy or cheating or taking a shortcut just killing them off, so long as you remember that your hero is human and should react to losing them like a real person.

[dingodad]

Given Caliborn and Calliope's dichotomy laid the groundwork for the Meat and Candy thing, and Trickster Mode obviously leaned heavily in the Candy direction do you think there could be some Meat philosophy equivalent, Lawyer mode or some shit (It wouldn't be called that I can't come up with anything good.) Or does the juju being both Calliope and Caliborn's say something about how Trickster Mode got the gang exactly where the plot needed them to be?

well Calliope and Caliborn both eat meat and candy. because the cherubs are consumers of stories, and these foods are both representative of necessary components of fiction (or at least Homestuck specifically) in Hussie's philosophy; where meat is "violent, high-octane, game-changing" (Book 4, p. 233), the exact meaning of candy hasn't yet been explained in any explicit sense, but the way the lollipop is described in the text suggests that it symbolises emotional catharsis, removed from the associated struggle:

[Teenagers] have to face all those issues themselves, or they will never learn and grow as people. [...] The journey itself is more important than the destination. The struggle is what builds character and teaches us about ourselves and about life. [...] So if you lick a magic lollipop that flips a switch in your brain that says "all my problems are solved," I guess maybe that's fine for cherubs, but if you're a human you haven't actually solved anything. By the same logic it's not much of a boon to a human's physical journey either. Using an item that lets them start maniacally powering from point A to point B isn't doing them any favors.

so where you seem to be approaching meat and candy as symbols of order and chaos, it seems more like the "Meat equivalent" of Trickster Mode would revolve around emotional anguish divorced from its resolution...

...which is why Rose's "grimdark" state is named after a loose genre of storytelling recognised by its gratuitous violence and angst for violence and angst's sake. the two are already positioned as opposites of each other, hence "the fabled blackdeath trance of the woegothics" versus "the fabled peachbirth trance of the jokebollocks".

worth keeping in mind of course that trickster mode is only the illusion of catharsis - so we similarly shouldn't think of grimdarkness as true story-developing hardship, either. Act 6 advances in spite of trickster mode, not necessarily because of it; the driving force behind the further development of the story is the emotional conflict behind trickster mode, not the 'solutions' trickster mode portends to provide.

[solxamber]

⋆˚✿˖ 𝐓𝐰𝐢𝐬𝐭𝐞𝐝 𝐖𝐨𝐧𝐝𝐞𝐫𝐥𝐚𝐧𝐝 𝐌𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭 𝐈𝐈 ˖✿˚⋆

Main Masterlist ; Twst Masterlist I ; Twst Masterlist III

Heartslabyul

Ruined - Riddle x reader

In which he slowly realizes that he'll never be able to look at anyone else, he's been ruined for everyone else but you.

Trash Novel Chronicles: I Want a Refund - Trey x reader

When the universe dunks you into a dumpster fire of a novel as the villainess, survival is key. Except your husband, Trey Clover, turns out to be such a green flag that it gets a little harder to function.

Possessed - Ace x reader

Something’s going on with Ace. He's being nice which either means he's possessed or has done something extremely illegal. (Spoiler alert: It's neither)

Trash Novel Chronicles: Speedrunning Marriage Fraud - Ace x reader

You get isekai’d as the heroine in a romance novel, but instead of dreamy suitors, you’re stuck with a yandere cryptid, a billionaire with no impulse control, and a knight who thinks he's in a Shakespearean tragedy (and more).

Your solution? Commit marriage fraud with your best friend, Ace Trappola, and hope no one asks for a marriage certificate.

Trash Novel Chronicles: Gaslight, Gatekeep, Get Married - Deuce x reader

You get isekai’d into a garbage novel as the villain, so you take it as a sign that morality is optional now. So, you do what any reasonable person would: you set the world on fire (metaphorically… mostly) and somehow bag your knight, Deuce Spade in the process.

Savanaclaw

Still Into You - Leona x reader

You return to your old town, only to cross paths with Leona Kingscholar—the one who got away and the one you never stopped loving. Perhaps this time, fate is offering a second chance to make things right.

or: Exes to Lovers with Leona

Octavinelle

Trash Novel Chronicles: My Consort Calls Me Shrimpy - Floyd x reader

"You get isekaid into a novel where the perfect Empress got absolutely wrecked by the plot, and now you have to juggle a bland heroine, 15 consorts, a traitor and a delightfully unhinged eel who’s oddly good at solving all your problems."

Shot Through the Heart - Jade x reader

As a senior Cupid with a 99% matchmaking rate, your flawless record crumbles before your eyes when Jade Leech resists every arrow you shoot.

Trash Novel Chronicles: How to Ruin a Plot || Jade x reader

When you end up as the villainess in a story that's hellbent on making her suffer for no reason, you decide to make the main characters suffer just for catharsis. Good thing that your fiancé, Jade Leech seems to like chaos as much as you.

Signed, Sealed, Bonded - Jade x reader

Being an Esper is hard. Finding a Guide is harder. Somehow, the only one who can handle you is Jade Leech, who is both the best and worst thing that has ever happened to you.

Scarabia

Trash Novel Chronicles: Stealing the Plot for Drama - Jamil x reader

The book you've been looking forward to turns out to be a piece of crap, and you have the bad luck of getting pulled into it. So you decide to steal the main character's show, just for sport.

Mission: Emotionally Compromised - Jamil x reader

Jamil’s greatest failure as a spy? Falling head over heels for the person he was meant to destroy.

Trash Novel Chronicles: Falling for the Sun in a Cold Empire - Kalim x reader

You lose everything you've worked after getting transported to the novel that you read when you were a teenager after a freak accident. As the villainess.

It's time to rebuild yourself, one step at a time with a little help from Kalim Al-Asim, your betrothed.

Brighter than the Sun - Kalim x reader

Kalim shines like the sun, radiant and unwavering—yet each day, he burns a little closer to the edge, waiting for the moment he no longer has to be the light for everyone else.

Pomefiore

Just the Way You Are - Vil x reader {Request}

Vil shows you that you’re perfect as you are, helping you embrace your beauty inside and out.

Take Two - Vil x reader

You and Vil, once lovers, are forced to reunite through work, stirring up old heartbreak and undeniable tension. Slowly, you realize love never truly left, and some stories deserve a second chance.

How to Handle Your Diva - Vil x reader

You’re the unofficial Vil Schoenheit handler, a role you assumed when you started dating him. Whether it’s calming his temper or redirecting his wrath, you’ve become the only one capable of keeping poor midguided souls from biting the dust.

aka the 7 times you save someone from getting poisoned or worse.

Caught in the Crossfire- Vil x reader

You and Vil, partners in crime, find that the line between business and pleasure is thinner than you'd like to admit when you can’t outrun the feelings that come with sharing a life together

Or: Mafia Boss! Vil x Mafia Boss! Reader

Totally Normal Romance - Rook x reader

You've fallen hard for the hunter and you're dating! But when you tell your friends the good news, they immediately try staging interventions. Huh, I wonder why?

Supervillain's Guide to Romance - Rook x reader

You planned for a lifetime of rivalry, but instead, Rook Hunt just keeps breaking into your lair with snacks.

Where did it all go wrong?

(Villain! Reader x Hero! Rook)

Ignihyde

Fae Courtship 101: Romance Gone Wrong - Idia x reader

In your desperation to confess your feelings to Idia, you've recruited Malleus to help you. Except his help is mildly concerning at best and extremely alarming at worst.

Diasomnia

Starstruck - Malleus x reader

After debuting with a gothic, fantasy-inspired theme, you somehow managed to hit Malleus Draconia’s exact vibe. Now, the fae prince has single-handedly appointed himself your Number One Fan—and he's taking his job very, very seriously.

Lost in Translation - Malleus x reader

You have an idea: what better way to confess to Malleus than in his native language? Except you have severely overestimated your abilities.

Guide Rank: Overwhelmed - Malleus x reader

Being a high-ranked guide is tough—you’re basically a glorified babysitter for overpowered, emotionally constipated espers. But it gets harder when Malleus Draconia, the strongest esper in existence, asks you to guide him.

And somehow, despite it all, you’re pretty sure Malleus is the best thing that’s ever happened to you.

Or: Guideverse au!

Betraying the Gods in Three Easy Steps - Malleus x reader

Step 1: Befriend the Demon King.

Step 2: Fall in love.

Step 3: Quit your hero job.

1800-Curse-Control - Lilia x reader

You decide to open a hotline for curing curses with Lilia. It goes exactly how you imagined it would—maybe even a little better.

Familiar, Not So Familiar - Lilia x reader

You, a mage-in-training, attempt to summon a simple familiar—only to accidentally get yourself Lilia Vanrouge, a legendary fae with a penchant for chaos.

Others

Campus Scandal - Neige x reader

Neige: hopeless romantic. You: begrudging (absolutely willing) participant.

or: Opposites attract— you, the resident delinquent and Neige, the campus golden boy, fall for each other.

Multi Characters

Making Up After an Argument With: Vice Housewardens + Kalim

Vice Housewardens + Kalim trying a period simulator

Summer Nights with: Housewardens + Jamil

Romance Clichés with: Leona ; Azul ; Vil ; Kalim ; Idia ; Jamil ; Riddle

Desperate Confessions with: Leona, Riddle ; Jamil, Sebek

Holding Them and Not Letting Go with: Housewardens + Jamil ; Vice Housewardens + Rollo, Neige ; First Years

Pick Us! (In which you have to choose a club and everyone wants a piece of you)

And I Pick... (In which you choose the club)

Kiss Cam with: First Years

Cuteness Aggression with: Idia, Cater, Octatrio ; Malleus, Rook, Lilia, Jamil, Riddle, Leona

Vs Plushies: Overblot gang + Rollo

Zoo Tycoon: Housewardens (In which they turn into animals)

Drunken Confessions with: Octatrio + Idia

You Try to Sleep on the couch after an argument: Housewardens ; Vice-Housewardens + Ruggie ; First Years ; Cater, Floyd, Silver, Rollo

Choose Us! (In which you have to choose a dorm to join)

And I Choose... (In which you choose the dorm)

Labor of Love with: Housewardens

Jealousy, Jealousy with: Housewardens

Giving them chocolates on Valentine's Day

Receiving Gifts on White Day

Requests

Skully J. Graves x reader (feat. Sally)

Skully J. Graves x reader (Double Halloween!)

Jealous! Riddle, Ace, Deuce, Epel

Vil x Mermaid! Reader

Jamil x Intimidating! Reader

Azul, Malleus, Idia x Alien! Reader

First Year Trio vs Freshly Painted Bench

Vil x Reader who finds Neige creepy

White Rabbit! Reader Aftermath (All NRC + Staff + Rollo, Neige, Che'nya)

Housewardens x Reader with a blinding smile

Leona x Reader (Romantic, Reader considers him their king)

Malleus, Silver, Ace with a Sheep in Wolf's clothing

Leona with drunk! reader

Malleus x Leona’s Bodyguard! Reader

Silver x reader x RSA! Silver

Rook, Trey, Malleus, Vil x Witch! Reader

Jamil, Floyd, Azul, Idia with the Orange Peel Theory (Kinda)

Riddle, Leona, Azul, Jamil reacting to reader singing their Villain songs

Ace x reader x Malleus (Love Triangle)

Leona, Octatrio, Malleus, Riddle, Vil, Rook, Rollo x Kokomi! Jellyfish! Reader

Deuce x Snow White! reader

Housewardens x M! Cowboy! Reader

Ace, Deuce reacting to a glow up (hcs)

Overblot Gang + Trey Being your Comfort Person

They realise what you went through - All NRC + Rollo + Neige + Grim, Staff

They react to you breaking down - Ace, Deuce x reader

Housewardens with a Miku! Reader

Second Years, Riddle, Leona, Malleus, Vil, Lilia, Jack x Buff! Fem! Reader

Azul, Trey, Rook x Jealous! Reader

Octavinelle + Diasomnia x Airhead! Jellyfish! Reader

Housewardens x Tease! Reader

Memorizing the Queen's rules with Heartslabyul

Diasomnia x Blacksmith! Reader

Ficlets/Asks/Drabbles

Kissing Malleus’s forehead scale

[coffeegnomee]

Forever thinking about how Spoke's betrayal of Parrot had such a smaller negative emotional impact to me than Jumper's betrayal even though both were months long undercover operations culminating in an abuse of the friendship for an ulterior personal motive that caused server-wide implications, mostly for the fact that Spoke's moment was entirely not streamed and revealed only in video while Jumper's had streams, and Spoke's was one piece of the rising action while Jumper's was the final crowning moment of the story.

I remember watching Spoke's reveal in his (original) video and being flabbergasted that the wormhole literally was barely a glitch and entirely hinged upon the social manipulation of an admin to the point where if Spoke didn't manipulate Parrot the wormhole just literally was not a problem or issue and did absolutely nothing (esp since Spoke never talked about the fly hacking lol). And I was shocked at the level of betrayal and the brutality of that moment, leveraging years of friendship for his own gain. It was devastating, it was monumental, it made me pause the video and just Think for a bit at how messed up it was.

But the video carried on and I already knew (and loved) the ending of the wormhole; the massive event, Planet loosing by 10 seconds, the server coming to an end through several awkward speeches.

The betrayal was just one blip in the larger story, you know?

Whereas Jumper's betrayal came completely out of the blue. Moments before she was celebrating with the team, moments before lamenting over loosing, and suddenly she reveals she leaked all the plans and made sure they lost and never cared about the team. She worked her butt off that final week to not be suspicious at all.

Honestly, it probably felt as bad as Parrot on the day Spoke betrayed him. And it felt really bad.

And then the arc was over, the server moved on, everyone else forgot about the betrayal and wanted to talk about new beef and new ideas, not rehash why Jumper didn't care about the team and why she betrayed.

There wasn't a catharsis of getting revenge (like parrot fighting back against wormhole), and to add insult to injury there was *Lifesteal Sunday*. Kick them while they're already down.

And yet. In the end, the story as a whole included a catharsis. 48 hours of hunting Jumper down and killing all her teammates. One by one until she was the only one left. And then getting her too (well, close enough ig). If you were to write a parallel video to s5 like the wormhole video, Jumper's betray suddenly is in the middle and the entire second half is filled with three plots to get her killed, trying again and again, getting Minute's team to betray him, etc etc. culminating in their victory.

You could easily minimize the pain of the betrayal by focusing on the revenge and waiting to talk about it in the video; if they waited to explain everything just for the youtube audience; if lifesteal wasn't streamed (i gasp).

What I'm trying to say is the difference is in how much was streamed. Which fascinates me because I have always wondered the affect of watching a season after it's over (and being able to watch everything without breaks and not having to live with the days of no streams wondering what will happen next, and too an extent knowing what happens) vs watching a season live. How it feels to watch the story unfold in both scenarios.

And I'm starting to think that that isn't what matters (ok it is still part of it), it's the access to the information in general. Everyone Jumper affected streamed all the time (zam and mapicc and then ro), both leading up to the betrayal, after, and up until the end. We got a constant look into the thoughts and emotions and affect of her actions.

Whereas Spoke didn't stream. Parrot didn't stream. The entire betrayal happened outside the eyes of those who did stream (eclipse and planet and bacon), all the emotional affect of the betrayal was only shown in the video, and there have been enough articles about that video already on how it conveniently leaves out so much.

S4 was marked by there being a simultaneous public plot being shown on the streams, and a completely hidden private plot between havoc duo that nevertheless had vast server implications with the wormhole as an event and parrot taking 3ht under his wing.

Which, because everything goes back to eclipse, also makes me wonder the affect this concept of streaming had on how everything happened with Vitalasy - him being in the center of the public plot much like Jumper was in the center of her public plot, whereas Spoke got off scott clean by not being in the center. So many layers that I'm not smart enough to get into.

In one way you could parallel Jumper's betrayal to Zam's betrayal. Both were on a team for months, both vocally loved the team, and both one day decided to leave the team in a devastating moment of betrayal and murder. From not-their-own-pov it was the same.

But because we do have Zam's streamed pov, you can watch how his betrayal was a slow process of realizing he couldn't stand what the team stood for but was desperately trying to stick with it anyway because he really really wanted to make it work and he only decided to actually pull the trigger the night before he actually pulled the trigger.

And because we do have Vi's and Subz' pov we have their thoughts and the affects Zam's sudden betrayal had on them and how devastating it was. How they also didn't see it coming bc omg he was on board two days ago. How it easily felt like if he knew he couldn't be part of the team he should have just said so a month ago instead of lying to them. Causing all that pain.

Eclipse, for me, feels so much more like an epic tragedy, both sides in the wrong, both sides in the right, both sides loving each other, and both sides being unable to be together. etc etc. it's a long and complex plot streamed from both sides with so much going on that to this day we still talk about it.

And so, Jumper is caught in a strange situation. Unable to stream her thoughts at all because she must hide her betrayal or it gets leaked. And needing to have streamed her thoughts to give her side of the tale in that particular way that live-streamed content gives, because the other side was giving their side of the story.

It's so... It makes it even more sad. And even more unique. It's own plot that bears strong emotions. It earns its title of worst lifesteal betrayal because of its situation, because it was both seen on stream and not seen on stream. It merits the devastation, that acclaim of best betrayal. at least, imo. Which is just fascinating.