#secondary character protection agency

[canonmisogynyvictimstournament]

PROPAGANDA

EVE (PARADISE LOST)

1.) I recognise how insane this submission is because this was written in 1667 and so attitudes towards women were obviously very different. But misogyny has always existed, no matter the time period, and so I think it’s fair to pick up on it. Although Milton somewhat avoids painting Eve as the wicked seductress, she is nevertheless presented as inherently inferior to Adam - her ‘virtue’ and 'passion’ are supposed to be an equal counterpart to Adam’s intellect but Milton’s clear resentment of Eve shines through. She is vain from the beginning - enamoured with her own reflection until she meets Adam. She is Adam’s subordinate and readily accepts her place in the hierarchy below him, until she meets Satan. Women seeking power and knowledge is therefore inextricably tied to the fall of mankind. Her attempt for some kind of independence away from Adam (going to tend the garden away from him) is also presented as the primary reason she succumbed to Satan because Adam is needed to protect her. Eve (the mother of all women) therefore creates the assumption that women are weak and easily misled away from men. The description of her eating the apple is very sexual - perhaps reflecting the anxieties of men at the time of being cuckolded and therefore dishonoured by their wives. She is the ultimate disobedient, dangerous wife. Her reason for sharing the forbidden knowledge with Adam, rather than keeping it for herself, is because she is worried she will face the wrath of God and be replaced with another Eve. So it is her jealousy that brings them both down. (It is all a lot more complicated than this so Eng lit people don’t kill me) but yeah poor Eve.

CORDELIA CHASE (BUFFY THE VAMPIRE SLAYER/ANGEL THE SERIES) (CW: Pregnancy)

1.) (downs an entire bottle of vodka and slams it back on the table) SO. CORDY. Cordy started off as a supporting character in Buffy the Vampire Slayer. At the start she was your typical high school mean girl character, but as the show went on we got to see more depth to her character: her insecurities, her courage, her capacity for incredible acts of kindness. Then after the third season she moved into the show’s spin off, Angel, where from the beginning she was basically the show’s secondary protagonist. Her and Angel were the two mainstays of the show’s main cast, she gets the most episodes centered on her out of all the characters aside from Angel (and yes, I’ve checked), and we really got to see her grow from a very shallow and self-centered and kind of mean person to a true hero who was prepared to give up any chance at a normal life to fight the good fight while still never losing the basic core of her character. There were some… questionable moments like the episode where she gets mystically pregnant with demon babies and things got a bit iffy like halfway through season 3 where the writers seemed to run out of ideas for what to do with her outside of sticking her in this romance drama/love triangle situation with the main character but overall, pretty good stuff right? THEN SEASON 4 HAPPENED. In season 4 she gets stripped of literally all agency and spends pretty much the entire season possessed by an evil higher power, and while possessed she sleeps with Angel’s teenage son (who BY THE WAY she had helped raise as a baby before he got speed-grown-up into a teenager it was a whole thing don’t worry about it) and gets pregnant with like. the physical manifestation of the higher power that’s possessing her. it’s about as bad and stupid as it sounds and also is like the third time cordy’s got mystically pregnant in this show and like the fourth mystical pregnancy storyline overall (you will be hearing more on that note in other submissions I’m so sorry). after giving birth she goes into a coma, in which she remains for the rest of season 4 and the first half of season 5. SPEAKING OF WHICH DON’T THINK SEASON 5 IS GETTING OFF SCOT FREE HERE. yeah so in season 5 the show just FULLY starts trying to erase cordy’s existence. she gets mentioned ONCE in the first episode and then never again until halfway through the season where she wakes up, helps out Angel for a bit and encourages him in his fight against evil, and then goes quietly into that good night and dies so it can be all sad and tragic. I’d call it the worst fridging of all time but even THAT feels generous because the whole point of fridging is killing off a female character so a man can be sad, and after Cordy dies basically no one’s even sad about it because the show immediately goes back to pretending she never existed. she is not mentioned ONCE in the two episodes after she dies. in the whole stretch of time between her death and the end of the season she gets mentioned exactly four times. again, I counted. anyway the fun twist to all of this is that all of this happened because the actress who played cordy got pregnant before season 4 and joss whedon was so pissed off about this affecting his plans for the show that he decided to completely fuck over her character and then fire her and write her out of the show. so cordy’s a victim of both writing AND real life misogyny!! good times!!

2.) OH SO MANY THINGS they menaced by giving her terrible hair cuts, making her seem like she’d get together with the guy she loves (and who loves her back) but instead she was killed and when she was brought back, she got possessed by an evil entity who used her body to give birth to itself. afterwards she was in a long coma and died. her character was so throughoutly assassinated

3.) She got demonically pregnant TWICE - there was this real sense of a womb/ability to get pregnant as like, a place for evil to get in. She got positioned as femme fatale and evil mother. The actress basically got fired for being pregnant, and when she agreed to come back for a single final episode she specifically said they could do anything but kill off the character. Guess what happened

[myidlehand]

Something I really really love about the Witcher books is how a lot of the story is about taking back agency over your own body. I don't think we talk about this enough ( I hope Netflix will show that a little more too)

Both Yen and Geralt have had horrible stuff done to them. Geralt's transformation might have been more physically extreme but both have been changed without their consent, knowledge and regards for their well being or mental health. And we meet them on the other end of those changes. (And of course we see more things done to them against their will or consent or with consent given under some form of duress).

We get to see Ciri at the beginning of all that. The entire plot is about how lots of people want to use her for her blood and genes with no regards for what she wants. She has to make sacrifices and changes in order to survive. A lot of the story is about how Yen and Geralt are trying to protect her (sometimes failing) from people who would use her body.

Even secondary characters like Milva share a bit of that story as well.

I think it's a really important part of the story, probably a lot more important than the monsters side. The books are focused on finding your family and taking back control over yourself, your body and your life and I think that's an interesting topic to explore

[vendetta-if]

LMAO IMAGINE IF THE CHARACTERS SEE THEIR RESPECTIVE POLLS 🤣

MY MC WOULD BE CHEERING FOR HIS DADDY AND ASH WHILE SECONDARY CHEERING FOR LUKA AND RIN 😉😁

also on a much more normal / thirstier ide note, can i get a scenario where the RO has been having a rough and stressful week 😖 and MC is worried about them, so when it's the weekend and the RO just returned from work, they enter their room to see a VERY EXTRAVAGANTLY decorated room with scented candles everywhere, the room itself is dimly lit by the candles giving off a very romantic vibes 😎 and lo and behold on a king sized bed covered in rose petals is th culript, i.e. MC dressed in (whatever you want them to be wearing, could be a maid dress, a qipao, maybe a lingere or nothing at all, depends on you or the RO 😏) with a rose clutched in their mouth. "wanna have some dinner?" MC winks.

SORRY I'M JUST HORNY ALRIGHT TOO MUCH ANGST IN THIS BLOG AYO WHERE MY HORNY BROS AT

😂 Viktor would smile awkwardly—maybe if he were younger, he would be more proud about winning the poll by quite a significant margin over his brother 😎

Luka would be so embarrassed while Jackal is on fight mode, standing in front of him protectively and possessively. Luka is already taken! Get away from him! 😠😤

Grandpa is just standing there stoically and menacingly 😐 Not a lot of stuff amuse him a lot; he suppose he’s still pretty attractive for his age, then 😆

Takashi is laughing awkwardly while Rin is sulking. He’s a bit flattered inside to be able to almost beat the big ol’ man Morozov himself 😂

Newton has never been in a poll where he got such a low number of votes. If he were younger and still single and unmarried, he would be quite insulted 🤣 Well, it still stings even now, but he already has his wife and kid; he doesn’t really care about the poll 😕

😆 If you’re looking for fellow horny enthusiasts, you can join my Discord Server if you want to. I have special horny channels and you can start a discussion there or join in any discussion. As for the steamy scenario 😳

Ash

MC could be wearing anything and Ash would find it hot, tbh 😆 But let’s imagine it’s the classic lingerie. Ash would be blushing and smoking. “D—Dinner? Do you want me to order some takeaway?” They try asking. After MC makes it clear what they mean by “dinner”, Ash would almost faint in place 🤣

Rin

MC would be wearing a collar and some ropes tied around their body as the only articles of clothing 😏 As soon as Rin sees you, they would smirk. “Dinner, you say? Oh, sure, let’s go to one of the fancy restaurants downtown now, no need to change outfits,” they would tease MC.

After MC makes it clear to them what they meant by dinner, they would hum, “Oh… Why don’t you just say so clearly from the beginning?” Their smirk widens. “Well, I’m starving and you better be too.”

Santana

MC would be in a state of half-dressed, bonus points if it’s some kind of formal or business formal clothings; shirt, dress, skirt, garters, gloves 🤭

Santana would smile as they see MC on the bed, the stresses and weariness of the day are evaporating away. “Dinner, huh? Are you sure you don’t want to have some real dinner first before we do this?” they ask playfully.

Skylar

For Skylar, I would imagine MC wearing some kind of sexy superhero/villain costume 🤣 They don’t mind whipping out their own for the roleplay (just don’t tell the Agency about it 😂).

A wide grin breaks on their face immediately as soon as they lay their eyes on you. “Oh, what a delicious dinner! Don’t mind if I do!” Dive onto the bed 🤭

[frownyalfred]

Sorry if this has already been asked before but what did Lex expect to happen if Bruce had been an Alpha and not an Omega? Was he really just looking to be protected by two of the most powerful Alphas he knew of or was he hoping to carry Superman's pups? Sorry if I missed something obvious

No worries at all anon! It’s unclear because BVS in general has some weird plot stuff, and then I had to adapt it to the a/b/o universe kind of on the fly.

Essentially, Lex thought that Batman was an alpha. Just like in BVS, he believed that Batman was the best chance anyone had at taking out Superman, who both he (and separately, Bruce) viewed as a threat to Earth).

If Batman managed to kill Superman, then his goal was achieved. If Superman won, then his secondary goal, as it was in the BVS movie, would be fulfilled as he could point to the threat of Superman and his lack of morals for greater political leverage. Lex would also therefore shake Batman's investigation of him and his company.

After realizing Batman wasn’t an alpha after Bruce and Clark’s unsuccessful attack on the LexCorp headquarters, Lex switched tactics. This is where I personally envision Lex suspecting Bruce's secret identity, though I don't think it's canon for BVS.

If Bruce couldn't kill Superman, Lex believed that bringing him to heel in a pack would be acceptable instead. Lex made a play, using Zod/Doomsday, to try and force Clark to submit to him as Pack Omega. The benefit being, Bruce was likely already pregnant and would be attached to Clark, and therefore both of them were vulnerable to manipulation. Bruce would also be a valuable asset while pregnant, as the pup would be Kryptonian.

Obviously, Bruce bucked Lex's plans by forcing Lex to submit to him instead, cementing himself as Pack Omega. Lex ended up not being able to 1) kill Superman or 2) force him to submit to him, but he did get something he was maybe craving deep down the entire time: a chance at having a pack, twisted and inadvertent as it was.

Lex's insistence in a coral room that Bruce was "just like him -- an omega grasping at stars" I think is also important. He's more comfortable as an omega than any other character we've seen so far, but even he is reflecting the omegaphobia of the universe. Were his plans with Superman/Zod a way to validate his own power and agency as an omega?

I'm sorry if this makes like zero sense, I legitimately agonize over the BVS plot every single day.

I will take a leap and say, for my own sanity, that the choices that Lex makes in BVS (and in this series) don't have to always make sense, since he is such an unstable and unpredictable character.

[metanarrates]

would you say shoujo boys are a Character Type in a distinct manner from the way shounen girls are?

oh, absolutely. while of course the overall character trends present in both genres can be very broad and leave room for a lot of variation, much like how the archetypal shonen girl is defined by her potential romantic relation to the protagonist, the archetypal shoujo boy is perhaps even more so. this is because while shonen absolutely includes romance as a component of its frequently-escapist storytelling, shoujo almost ALWAYS includes romance as a main focus.

(disclaimer that I'm talking very very broadly with trends I've seen in the genres, and not about specific individual works. there's a lot of shoujo with mainstream popularity that deals with telling different types of stories, and the same is true for shonen. it's just also true that it's been very rare for me to encounter a shoujo work that isn't romantically focused, and I spend a LOT of time scrolling manga sites to find shoujo when I want to read something chill.)

for the shoujo boy, the specific archetypes he's drawing off of tend to be what's currently in fashion at the moment, but the common denominators tend to be that he is older, usually more "worldly" than the protagonist, and possesses great social, political, or magical power. if he's in a fantasy story, he is either a duke or a prince. if he's in a more modern story, he is likely considered to be at the top of a social hierarchy. you'll notice that all these factors translate to him being more powerful than the protagonist. this is for a very specific reason! a critical component of shoujo romance stories is that the hero almost always needs to be capable of protecting the heroine in some way.

you could make an ENTIRE gender studies course on this, but I won't digress into that very interesting tangent. here, I'm just attempting to identify the common archetype and the fantasy underpinning that archetype. for now, it's enough to say that the fantasy of having a boyfriend who can protect you is nearly universally shown in shoujo romances. these tropes are usually true of both main male leads and any secondary love interest that the protagonist picks up, btw.

another critical component of the archetype is that the shoujo boy has a wound that only the female protagonist can heal. whether that's physical (guy undergoing a magical transformation into something, guy with rare magical disease, etc) or emotional (usually the guy's got some trauma,) there is almost always something uniquely healing about the protagonist that draws him to her. if he's a womanizer, she can make him faithful to only her. if he's brooding, she possesses the ability to make him smile. he is always thinking about her. it's difficult for him to take his eyes off her when they're in a room together. and if he isn't someone who is usually gentle to others, somehow he is capable of being gentle to the protagonist.

honestly, i would say his actual personality is way less important than his story utility. whether he's a sweet childhood friend, an overbearing romantic pursuer, a brooding loner, or anything else, it's almost always true that a major male character will present some traits of an idealized male love interest as mentioned above. his personality traits outside of that will just appeal to varying and more specific types of fantasy boyfriend.

the shonen girl, by contrast, often requires a very specific personality type to be the object of desire (and usually the object of plot) in her story. while there are exceptions, the most common shonen girl archetype that I've seen is just kind of generically feminine and sweet. if she fights, she often loses. if she tries to be active, her attempts at agency will end with her being damselled. think kairi from kingdom hearts or orihime from bleach.

on that note, that's also a major point of divergence between the two archetypes. while the shonen girl frequently exists as a plot macguffin and object of desire, the shoujo boy is very frequently a driver of plot. whether he's swooping in to save the protagonist from an evil dragon, fighting the protagonist in an academic rivalry, or the protagonist's arranged-marriage husband with a big secret, he usually moves the plot forward with his actions. though the honor of main plot driver either goes to the protagonist herself or to outside forces such as a villain, every major male lead in a shoujo story will contribute to the plot momentum in some way. again, you could write a gender studies thesis on this.

but that's my broad analysis of trends! I'll note that the bulk of both shoujo AND shonen I've read are almost always fantasy, so my perspective of big trends might be a little skewed to those genres. I'm not too sure what usually goes on in shoujo with contemporary settings, for example. feel free to add on with any thoughts of your own, especially if you think I'm off base about something!

[rappaccini]

How would you say gwen and miles bring out the worst in each other?

alright like. i'm talking about them in general, but idk if you mean spiderverse gwiles or comics gwiles. i'll do both.

spiderverse gwiles: read this.

one addition: gwen sees miles as a replacement for her peter parker.

gwen: that's why she develops feelings for him. that's why she's protective of him. she hates herself for not being able to save and date her peter, so she's forcing herself to repeat the past with miles. and if she gets together with him, that just means she'll keep punishing herself forever when she should be moving on completely.

miles: let me get this straight: the trilogy of movies all about how miles should get to be his own person with his own story instead of being forced to imitate peter parker... are gonna end with him ending up with a girl who only wants him because he reminds her of peter parker? okay. i see. so he isn't going to be his own person in the end.

now. for comics gwiles. and really, gwiles in general:

first, to clarify: out-of-universe vs in-universe.

out-of-universe (as in, the real life shit motivating the writers pulling the characters' strings), this relationship exists because bendis has a Type of romance he prefers and he wanted to shove all of peter's leftovers onto miles instead of giving him something new. it was picked up for itsv because at the time miles didn't have many love interests to choose from and the white guys writing his story probably preferred gwen because she's who'd they want for themselves. it'll be revived and pushed because marvel editorial wants to cash in on spiderverse synergy.

in-universe (as in, the plot- and character- developments that have to be created to make this shit make sense within the world of the story), you'd have to justify it with stuff like...

on gwen's end,

gwen leaving her world forever turns her into a selfish coward. how can you honestly brand gwen as a brave superhero if she abandons her loved ones and her community, packs up and runs someplace easier when the going gets tough? how can she be a good spider-person if she abandons her responsibility to protect earth-65 to go make out with a boy?

gwen losing her girl's girl cred. miles is already in a relationship with tiana toomes. if gwen starts pursuing him while he has a girlfriend... i mean. what kind of pick me bullshit is that. and beyond that, if gwen starts centering her boyfriend instead of her relationships with other women... yuck.

the age gap problem. no matter how you spin it, there's just something uniquely pathetic about a 20something simping over a high schooler, and that's what the writers will do to her. she'll either get together with him even though he's underage, or she'll sit on the sidelines, waiting for him to be legal. regardless, gwen's going to act weirdly immature for her age to ~fix the gap~-- which will just make it creepier. at worst, it's gross. at best, it's humiliating, especially since...

gwen's closeting herself. the last and only time gwen considered a relationship with miles, it reeked of 'queer girl tries closeting herself to be accepted.' in the eight years since, gwen's creatives have tripled down on her queercoding and her lack of attraction to miles. gwen resuming that relationship with him will only reek of her backsliding into comphet. even more humiliating.

gwen is giving up on being her own person, and is settling into the patriachy. so much of gwen's story is defined by her fight to keep her agency and define herself apart from the men who want to control her. if gwen gets with miles, she'll always be secondary to him. so her entering a relationship with him means she gave up. the (hetero)patriarchy beat her into submission. the cycle continues. the cynicism is exhausting.

a relationship between miles and gwen turns gwen's story from an inspirational one about a queer female hero who fights to keep her agency from a world that wants her dead for refusing to be what it wants her to be into a tragedy about a girl who gives up on being independent and settles for centering her life around being the passive girlfriend of an important guy she's pretending to be attracted to instead. it's embarrassing, insulting and deeply sad to watch her be reduced to that.

.... it's worse for miles. and i don't mean 'miles has it worse.' i mean 'miles becomes a worse person.'

to be clear: gwiles isn't a relationship between equals. oou, miles is the more popular character among his writers and the fanbase, and his brand benefits from getting gwen as a trophy girlfriend. gwen's does not. all gwiles does is take gwen's world, supporting cast, personality and story away from her, and saddle her with a role that doesn't make her happy and violates the entire point of her character. miles will be a shittier person, and yeah his stories will keep needing gwen to pop up in them so he can show his trophy to the audience, but he'll still have his own stories, he'll still have his supporting cast, he'll still be the second-biggest spider-man. gwen gets to be his girlfriend, and then his wife, and then his babymaker, and you know each time the role evolves she'll shrink because men can't write wives or mothers worth shit, and they'll start favoring the gwiles offspring as soon as they can. gwen will always have it worse.

so in-universe, miles is more powerful than gwen. she might be older than him, but she can't stand up to him in any meaningful way. she can't beat him in a fight. she can't outsmart him. all their spider-friends will always take his side. the multiverse itself likes him better and is canonically trying to take her away from earth-65 to pressure her into a relationship with him. she will always, always be second to him for as long as the relationship lasts and it'll only get worse the longer they're together.

and in order to make the relationship last, miles would have to be written into the kind of guy who at best, has such a superficial interest in his girlfriend that he doesn't notice that the playing field is so uneven, or at worst, does know and is taking advantage of that power dynamic--- and regardless, he doesn't care that it's affecting her negatively because it benefits him.

you know. That Kind Of Guy.

what does that mean?

miles chasing after gwen signals that he's regressing in his sense of individuality. after years of progress in becoming his own character with his own unique supporting cast (including love interest) miles... is going back to chasing peter parker's leftovers? okay. i see.

miles is starting to reprioritize courting a white audience. miles and gwen are in assimilation narratives. miles has only recently begun doubling down on seeking black mentors and allies (specifically black women), and is finally starting to focus on his community instead of pleasing the entire city. if miles gets with gwen, all that progress goes down the drain and he's right back to seeking approval from white people instead of his own community.

miles's romantic priorities are getting shallow again. miles puts gwen on a pedestal. he's mostly into her because he thinks she's hot and that being with her makes him seem impressive. there is no deeper connection. in recent years he's grown out of this kind of behavior thanks to his relationship with tiana toomes. so if miles moves from tiana to gwen (especially if he leaves tiana for gwen)... look, you can't spin it any other way: if miles leaves a multi-year relationship with a black girl who's his equal and calls him on his shit for an infatuation with a white girl he barely knows, only wants as a trophy, and who can't stand up to him, he's regressing into a shallow, immature guy who sees women as objects. like, oh, okay, so you do want that. gross.

miles not helping gwen get her world back turns him into an opportunistic asshole. logically, if miles morales, who lost his own home world, found out that gwen couldn't go back to hers-- and unlike him, none of the people she loves are with her here and she is completely alone-- he should respond with "that's fucked up, i'll help you get home." but in order for them to stay together, he would have to respond with "that's fucked up... wanna make out about it?" --- so, he'd become the kind of guy who'd use a girl's vulnerability and isolation to reel her into a relationship with him. gross!

the homophobia problem. given gwen's overwhelming queercoding and how gwiles is subtextually linked to the concept of gwen closeting herself for acceptance, if they stay together, miles would become That Kind Of Guy who pressures his queer girlfriend into staying in the closet and playing out a heterosexual relationship arrangement she's fundamentally uncomfortable with so he can be with her. gross.

not to mention earth-8. gwen doesn't want kids. miles does. on earth-8, they have children. and earth-8 gwen is supposedly a future version of gwen-65. do the math: something had to happen to get gwen to agree to stay pregnant, and it probably wasn't good. given that miles is the one who wants the family, has more power in the relationship, and is a shittier person because of said relationship, it was probably miles who wore her down until she agreed. yep. That Kind Of Guy.

miles morales, whose character is meant to open the door for different marginalized characters getting their own narratives that represent and center them and their experiences... would become complicit in the destruction of gwen's. if not an outright participant. and he'd be turning into this hypocrite for the great, noble reason of "i want to force the girl i like to stay with me."

how can you honestly brand miles as a hero if he does this shit to a girl he claims to care about?

a relationship between miles and gwen turns miles's story from an inspirational one about an afrolatino boy who finds his confidence and comes into his own by embracing his community into... another tragedy. but because he keeps his agency, he plays a different role in it: the more he's with her, the worse he feels about himself and the more he turns to her for validation she can't give him, which leads him to do shittier and shittier things to her to keep her around. the cycle continues. he's not the victim. he's the bad guy.

not to be overdramatic, but... look, if gwen's story is about struggling to keep her autonomy in the face of heteropatriarchy-- which is being taken from her for miles's gain-- and miles is written into the kind of person who perpetuates those systems to keep her with him (which is the only way they'd stay together), then that means miles is the villain of gwen's story.

at this point, given that she's about to lose her world (and we all know spiderverse synergy aka gwiles is why) and especially if gwiles gets any further... miles is the antagonist. he's the force in the way of gwen achieving the goal of her story. she has to sneak around him, escape him, defeat him, or persuade him to get out of the way (= to refuse to be with her and help her get her world back) if she's going to get a happy ending. and we know the story's rigged for her to lose.

(and that all their friends are going to be written to cheer this awful relationship on. peter parker is going to pressure another gwen stacy into a demeaning tragic narrative so he truly learned nothing. all the spider-women are going to become the kind of women who do nothing as one of their own is treated badly by a guy in their friend group. spider-punk is going to be written into That Kind Of Leftist Guy who talks a big game about equality and revolution but does nothing to help the women in his life when they're being mistreated by his bros. it ruins everybody.)

there's even a fucked-up symmetry to it: gwen's story starts with peter-65 and ends with miles, and in the end the only fundamental difference between them is that this time, the Nice Guy the audience is predisposed to root for succeeds at swallowing gwen whole, and we're expected to cheer when he does it because the story is on his side.

i mean. it's a compelling tragedy. in another circumstance i'd eat that shit up.

but their stories aren't supposed to be tragedies. gwen and miles are supposed to break out of the systems rigged against them instead of giving in and reinforcing them. they're supposed to be heroes and their stories are meant to inspire little kids. if they get together it all falls apart, yet it'll be framed like something good, romantic and happy. they both deserve a lot better than this.

so i'd rather we just... not.

[touchingmadness]

Help me choose a Nano project?

I am by no means promising to heed the results to this, but I could use some opinions. I have a few ideas for what to work on for Nano but can't make a final decision which is... a problem, since these all need some more planning before I actually start writing them.

Descriptions and pros/cons below the cut.

Reblogs allowed and appreciated.

That Which Remains (post-apoc sci-fantasy)

In a post-apocalyptic world where the passage to the afterlife has been mysteriously cut off, the streets are oversaturated with the spirits of the dead. Trained Quellers take to the streets with their spirit-sensitive subordinates to channel and extinguish these spirits. Aereas is an unsanctioned Queller who is secretly spirit-sensitive. When they're called in to investigate the apparent suicide of a Queller-in-training, they get pulled into the mystery of why the spirits of the dead are lingering and what the Quellers are - or aren't - doing about it.

Pros:

Most developed plot

Main and secondary character decently developed

I know DEFINITIVELY how this ends, down to the scene

Cons:

Might be derivative -- formulated as a dream while I was binging stories about body-hopping and talking to the dead

Most of the other characters don't even have names

Unsure if this is a single book

Wither and Woe (high fantasy, political drama)

Five nations are on the cusp of deadly conflict. Tensions are rising, and plans are being pushed into motion under the veneer of civility. A young princess married off as a glorified hostage barters with the demon Wither for a child that will earn her nation's protection. She bears her husband an heir that is not his own amidst the political machinations of the inner court and begins to suspect that she is not the only one who Wither has helped.

Pros:

WITHER!!! I love Wither so much!!!

Most of these characters are well-planned

Wrote a bit for this a few months back

Cons:

Still unsure is this should be one POV or like six

Worldbuilding needs some work

Heavy subject material with little room for levity -- usually prefer to write these types at the same time as a lighter project

Casey Draper's Big (Gay) Alien Road Trip (contemp sci-fi)

Casey Draper is stuck in a rut since graduation, faced with the harsh realities that her dreams may never come true and her friends might not want to see her again. Life isn't like the books, and that sucks. So who can blame her when she lets herself be kidnapped away from her dead-end job by an angry alien who seems to think she's a missing alien prince? Casey's in for the adventure she always craved as they flee secret government agencies, stumble upon strange towns, and eventually have to stop the actual runaway prince from getting himself killed with his party boy attitude.

Pros:

Main cast is completely planned

Incredibly dissimilar to anything I've watched/read lately, so less likely to accidentally draw from things half-remembered

Almost episodic, can afford to be rambly and unfocused

Cons:

It's the type of contemp where the worldbuilding is basically just our world, which is difficult and often boring for me

Literally no existing outline AT ALL

Annoyed with my own job in a way I wasn't when this was first planned -- risks getting too pessimistic or just frustrating

Project Evergreen (post-apoc sci-fi)

Arden thinks his life is over when he leaves behind his family's stronghold to take his sister's place at the Eternal One's estate. But instead of being imprisoned for Fern's habitual impulsiveness, he is given a new name and instructed to work on a mysterious device alongside others in similar situations. And he would truly prefer it if the Eternal One would simply lurk. Instead, the mystical woman infamous for somehow surviving long past the Before Times visits him and speaks as though he is someone else.

Pros:

Relatively developed cast drawing from discarded projects

Basically a fucked up and nonromantic sci-fi Beauty and the Beast story, so most of the big story beats are planned for me

Strong thematic center - easier to make story decisions

Cons:

No clue what happens between the big story beats ¯\_(ツ)_/¯

Worldbuilding is slapdash at best

I have no clue how this ends

[trainsinanime]

A few days ago I got an ask about Adrien and his agency. It wasn’t a good ask, and the asker should feel back (they sent the same ask to multiple people, apparently to dunk on someone else), but I’m still thinking about it. Because Adrien does challenge what we think of as „agency“, at least in the most basic sense. And that becomes very readily apparent if you look at a character who is a lot like Adrien: Harrowhark Nonagesimus in Harrow The Ninth.

As a quick and summary (some spoilers, but not any major ones): Harrow the Ninth is the second book in the „The Locked Tomb“ series, and deals with the fallout from the events of the first book, Gideon the Ninth, where Harrowhark (Harrow for friends, Harry for frenemies) was the most important secondary character. This time she is the point of view character (ish). She is an incredibly powerful and skilled sci-fi mage. In the last book, in a special ritual, she (among others) gained additional mystical powers and is now a Lyctor, a deathless mage with essentially unlimited power. And she is going to need these powers, because she got a new job: Protect the universe from incomprehensible magical monsters, along with her fellow Lyctors and the god-emperor himself.

Except something went wrong somewhere between the books, and Harrow doesn’t really have these powers. Still a great mage, but that’s not that important anymore. She is functionally useless in her new peer group, and her peers absolutely let her know that.

And that’s not all. There’s something wrong with her brain. She keeps remembering the events of book one, but all completely wrong. In the present she is definitely hallucinating some things and possibly hallucinating some others. She’s supposed to wield a big sword, but she throws up every time she touches it. Some people in her peer group want to murder her, because they see her as dead weight, and the god-emperor goes, „eh, what can you do, please try not to die but I won’t tell them to stop either“. At one point she tries to make soup for everyone, and even that doesn’t go as planned.

So, you could think that Harrowhark has no agency in her own book. She lacks the ability to do much of anything for most of the book, and the characters around her sure do notice. One of the first things you learn, in a flash-forward to the climactic battle in the first chapter, is that people literally offer her to just skip the fight because she can’t do anything anyway.

But here’s the thing: Despite all of this, Harrow the Ninth is a great book that is incredibly engaging and interesting and often fun to read, and Harrow herself is an endlessly fascinating character in it. The important part is that throughout the entire book, even at her lowest points, she keeps on trying.

Harrow throws up when she picks up the sword, but she keeps picking it up anyway. She keeps trying to learn about the new world she’s trust into. She does her job as well as she can. She refuses to sit out the big battle. She doesn’t have super-healing, so she compensates by using super-advanced normal magic to heal herself. She keeps meeting people from book one and helps them out. And every once in a while, she succeeds and impresses everyone. Even if it isn’t enough by the standards of the other characters, she’s still an incredibly impressive mage, and she is smart and resourceful.

There is also an interesting mystery throughout the book; it seems like some of Harrow’s problems may be self-inflicted and she can’t remember why anymore. But on a page-to-page level, the most important part is that every single moment of the book, Harrowhark chooses to continue fighting.

Adrien is very similar to that. He can’t grow an army of skeletons from just a handful of bone fragments (as of season 5), but he also struggles for his freedom and his agency. It doesn’t always work, thanks to his controlling father (zero cows killed), but sometimes it does, for example when Adrien puts on a black outfit and becomes a superhero, or when Adrien decided to go to school.

What sets Harrow and Adrien apart from a classic „princess in a locked tower“ story is not that they manage to escape that locked tower all on their own; they don’t have that power. But they keep trying, and the narrative takes it seriously when they do try. Even if they fail, and they do, it still changes how we and other characters see them. 

And that’s really the key here. Agency is not about being able to do things successfully. It’s about making choices that get taken seriously. Adrien and Harrowhark both have that power, and that’s why they’re interesting characters with agency.

[coquettedragoon]

Imo Elise can be flatter but she must always Have The Biggest One

Real question so this isn't just a garbage ask:

I think the overlap between age regression and military service in this context is a rly fascinating angle, especially when it comes to finding "comfort" through abdication of responsibility. In a similar vein, do you think there's interesting stuff to be said/done about mecha specifically with respect to how it overlaps with BDSM? Having a secondary "body" that can be injured or restrained beyond the capacity of yr own, that acts as a surrogate. I think there's a lot of like meat in examining the distance between the mech as vehicle and mech as body.

there’s definitely interesting stuff to be written, but honestly not in coquette. i’m actually not a person who thinks of mechs as bodies, i think of them as fighter planes. which are also sexy, but at the end of the day are just a weapon.

a dragoon can’t give any of the characters true agency, because it requires the cooperation of the entire military complex to rearm refuel and repair, they can’t be used for independent goals or rebellion. with a jet it’s as literal as needing an airfield to land on, but i think of mechs as the same way. in terms of a body that can be injured, i think of military technology as incredibly fragile. video games depict a tank as having an enormous health bar, but in reality a single hit can kill the whole crew in a millisecond. there’s little sense of surrogacy for the coquette cast… while they’re shielded from smaller arms, dragoon vs dragoon battles are lethal. xio is caught in the dilemma of wishing her dragoon was more human, more protective, but as you saw in the opening, a dragoon trying to rescue her was killed in a single shot.

i think a lot of what i want to write about in coquette is the characters being failed on the promise of mechs, that they aren’t any more special because they are humanoid, and that they can’t be saved by them

as a sort of aside about why i love mechs despite having such unromantic thoughts about them, what i think of with mechs is they’re a form of allowing communication and managing scale in storytelling. a soldier can’t easily have a love affair with someone in a trench a mile away, but you can dramatically lock swords and talk over your radios in a mech, while at the same time a battle between a handful of named characters in mechs still has the impression of total war. it only took two zakus to destroy amuros home, and the act of killing them both was deeply impactful and personal

[zarcsobsession]

Resident evil Omegaverse AU

Remember! im not a English mother language! so if you find some error pls tell me and i correct the error!

Omegaverse is one of my favorite drugs, if you add Mpreg you give me a very big joy! So i have decide to make my personal version of Omegaverse in Re fandom!

Some Info is inspired from @sparkie96 works!

<hr>

!!! IMPORTANT NOTE !!!

My omegaverse is slightly different than most works I've gotten my hands on! Omega males DO NOT own a vagina! but the entrance to the reproductive system is located in the rectal area! When they go into pre-heat they will have very strong abdominal cramps because the canal has a muscle that "moves" when they go into heat, to close the digestive tract and open the reproductive canal, these cramps will also be there after the heat which will last about 2/3 days (together with the pre heat and the post heat it will last approximately 6/7 days). The look doesn't differ much! the bicinii is slightly wider than normal! They won't keep them growing when pregnant! his pecs will simply swell and that's it!

<hr>

Omegaverse in RE fandom!

In the world of Resident evil, omegas are really rare (3% of the entire world population), because they have particularly difficult genes to breed!, but they are not seen as weak, needy and that must be protected. Law enforcement agencies such as Police, Special Forces and others seek them out for use in rescue missions, because due to their nature they are able to calm down and help kidnap victims, such as in the case of Ashley's kidnapping. They are trained to resist psychologically to pheromones of any kind, and to bear severe physical and psychological trauma. Betas are the highest percentage of all (about 60% of the world population), they are very normal humans, pheromones do not affect them at all, and they only use them to recognize people. Alphas make up a good percentage, but not as much as betas (about 30%), they are men who are relatively strong and dedicated to protecting the people they love.

Finished all this rant here is the list of all the characters of RE and their secondary genre!

<hr>

Rebecca Chambers: Alpha(I loved his personality in RE Vendetta! and when i scolded the two kids arguing i adored her and my mind decided she was alpha!)

Billy Coen: Beta

Albert Wesker: Alpha(Albert is an "old school" alpha, where the omegas are just slaves and shouldn't exist!)

William Birkin: Beta

Chris Redfield: Alpha

Jill Valentine: Alpha

Barry Burton: Alpha

Brad Vickers: Beta

Leon S. Kennedy: Omega/Alpha/Beta(Its genre depends a lot on the plot! In some stories he is a beta/alpha turned into an Omega, only to have to continue taking "steroids" to return to alpha or appear as a beta!)

Claire Redfield: Beta/alpha( I'm uncertain)

Ada Wong: beta

Sherry Birkin: Beta/Alpha

Hunk: beta(???)

Carlos Oliveira: Omega

Mikhail Viktor: Alpha

Nikolai Zinoviev: Beta

Steve Burnside: Beta/Omega

Ashley Graham: Omega/Beta

Ingrid Hunnigan: Alpha

Jack Krauser:Alpha(When he wasn't a jerk he was a regular alpha, when he wanted his lookout he started thinking old fashioned like Wesker.)

Parker Luciani: Beta

Keith Lumley: Beta

Jessica Sherawat: Beta

Quint Cetcham: Beta

Raymond Vester: Beta

Sheva Alomar: Alpha/Beta

Josh Stone: Beta

Excella Gionne: Beta

Moira Burton: Beta

Natalia Korda: Genderless(Because of the experiments it doesn't have a secondary genre, it's marked as beta, but I don't have it!)

Alex Wesker: Alpha(like Albert)

Jake Muller: Alpha

Helena Harper: Alpha

Piers Nivans: Beta

Carla Radames: Beta

Ethan Winters: Omega

Mia Winters: Alpha

Clancy Jarvis: Beta

Zoe Baker: Alpha

Joe Baker: Alpha

Marguerite Baker: Beta

Lucas Baker: Beta

If I have forgotten someone you are more than justified in kicking me to add it!

<hr>

Forgot to mention, that large family groups or very close friends are referred to as a "Pack", and it is normal for members of this pack to help others in need! but a person can safely decide not to join any of these packs and remain alone!

<hr>

ps, you are more than welcome to take and use these combinations or info! at least remember to give me some credit, thanks!

[canonmisogynyvictimstournament]

PROPAGANDA

JIANG YANLI (MO DAO ZU SHI)

1.) (note about the name first, she's chinese so its jiang yanli, family name jiang) (also this is specifically about the novel, not any of its adaptations and specifically not the untamed. they all have their issues too but are a lot better)

she's the main character, wei wuxian's sister who he loves dearly, but is barely a presence in the story. at first she basically just exists to create drama between wei wuxian and her fiancé jin zixuan. then when she and jin zixuan get married and have a kid, she has seemingly become obsolete and just gets teleported to a battlefield she has no business being at to die tragically and create drama between wei wuxian and their brother, and later wei wuxian and her son. she's barely even around, she just gets talked about and fought over by all the actual important people (the men in her life). no attention is payed to her interiotity, she doesn't get to react to all the plot points even when they affect her just as much or more than other characters… overall she's treated as a plot device and not an actual character.

2.) She was a sister, wife, and mother. Then she died. Many characters loved her, and they only remember how caring and nice she was. Her fierce protectiveness is not mentioned after her death. She could also not fight for some reason (even though her mother was famous for her fighting skills??).

3.) After she has her kid- and her husband dies- she rushes into the middle of an active battle field and dies in the protagonist (her pseudo brother’s) arms. She tries to tell him one last thing but dies right then. He then goes on a rampage. Previously the biggest things we got to learn about her was she makes good soup, she had an arranged marriage (that was called off but was remended), and is kind. Despite being close w/ the protagonist (before her death) and one of the major side characters (and her being a Sect Leader’s daughter) there isn’t a lot of depth to her. Even if she’s only shown in flashbacks her character comes across as “she died to further the plot”

CORDELIA CHASE (BUFFY THE VAMPIRE SLAYER/ANGEL THE SERIES) (CW: Pregnancy)

1.) (downs an entire bottle of vodka and slams it back on the table) SO. CORDY. Cordy started off as a supporting character in Buffy the Vampire Slayer. At the start she was your typical high school mean girl character, but as the show went on we got to see more depth to her character: her insecurities, her courage, her capacity for incredible acts of kindness. Then after the third season she moved into the show’s spin off, Angel, where from the beginning she was basically the show’s secondary protagonist. Her and Angel were the two mainstays of the show’s main cast, she gets the most episodes centered on her out of all the characters aside from Angel (and yes, I’ve checked), and we really got to see her grow from a very shallow and self-centered and kind of mean person to a true hero who was prepared to give up any chance at a normal life to fight the good fight while still never losing the basic core of her character. There were some… questionable moments like the episode where she gets mystically pregnant with demon babies and things got a bit iffy like halfway through season 3 where the writers seemed to run out of ideas for what to do with her outside of sticking her in this romance drama/love triangle situation with the main character but overall, pretty good stuff right? THEN SEASON 4 HAPPENED. In season 4 she gets stripped of literally all agency and spends pretty much the entire season possessed by an evil higher power, and while possessed she sleeps with Angel’s teenage son (who BY THE WAY she had helped raise as a baby before he got speed-grown-up into a teenager it was a whole thing don’t worry about it) and gets pregnant with like. the physical manifestation of the higher power that’s possessing her. it’s about as bad and stupid as it sounds and also is like the third time cordy’s got mystically pregnant in this show and like the fourth mystical pregnancy storyline overall (you will be hearing more on that note in other submissions I’m so sorry). after giving birth she goes into a coma, in which she remains for the rest of season 4 and the first half of season 5. SPEAKING OF WHICH DON’T THINK SEASON 5 IS GETTING OFF SCOT FREE HERE. yeah so in season 5 the show just FULLY starts trying to erase cordy’s existence. she gets mentioned ONCE in the first episode and then never again until halfway through the season where she wakes up, helps out Angel for a bit and encourages him in his fight against evil, and then goes quietly into that good night and dies so it can be all sad and tragic. I’d call it the worst fridging of all time but even THAT feels generous because the whole point of fridging is killing off a female character so a man can be sad, and after Cordy dies basically no one’s even sad about it because the show immediately goes back to pretending she never existed. she is not mentioned ONCE in the two episodes after she dies. in the whole stretch of time between her death and the end of the season she gets mentioned exactly four times. again, I counted. anyway the fun twist to all of this is that all of this happened because the actress who played cordy got pregnant before season 4 and joss whedon was so pissed off about this affecting his plans for the show that he decided to completely fuck over her character and then fire her and write her out of the show. so cordy’s a victim of both writing AND real life misogyny!! good times!!

2.) OH SO MANY THINGS they menaced by giving her terrible hair cuts, making her seem like she’d get together with the guy she loves (and who loves her back) but instead she was killed and when she was brought back, she got possessed by an evil entity who used her body to give birth to itself. afterwards she was in a long coma and died. her character was so throughoutly assassinated

3.) She got demonically pregnant TWICE - there was this real sense of a womb/ability to get pregnant as like, a place for evil to get in. She got positioned as femme fatale and evil mother. The actress basically got fired for being pregnant, and when she agreed to come back for a single final episode she specifically said they could do anything but kill off the character. Guess what happened

[synergysilhouette]

Some changes I'd make to Fox's X-Men trilogy

The X-Men franchise helped to propell future superhero films as well as becoming an iconic film brand in it's own right. That said, I've got some changes I'd make:

X-Men 1. Give more attention to Rogue's character. Despite being important in the film, she (and everyone else, for that matter) plays secondary to Wolverine. It'd be interesting to see her in more scenarios that inspire her to wear gloves; with Cody, she only kissed him. Or make Mystique appear as Rogue's adoptive mother (rather than Bobby) in order to convince her that she'll never be loved as she is to leave the school, where she joins the Brotherhood, who seemingly accept her. It isn't until Magneto uses her that she realizes the deception. 2. Flesh out Storm, Beast, Cyclops, and Jean. Maybe brief flashbacks into their lives and backstories, utilizing them more and giving Cyclops and Jean more agency outside of their romance and love triangle with Wolverine. 3. Have The Brotherhood include Scarlet Witch and Quicksilver, allowing Magneto to appear sympathetic to his children (particularly Wanda) and instill his beliefs in them. Maybe also include Mastermind to help manipulate more humans and mutants against each other. 4. Post-credit scene shows Magneto's threat has the UN promise him the island of Genosha.

X2: X-Men United 1. Again, allow characters outside of Wolverine to develop. In this case, develop Nightcrawler, as well as addressing Mystique as his mother. Maybe have him younger in this version so he and Rogue are similar ages. I love their sibling bond in the comics! 2. Keep Stryker's religious affiliations, except perhaps make him form his own religion/cult with Catholic Kurt serving as a foil to him. 3. The X-Men are rescued by Magneto, who takes them to Genosha. Their united team includes Magneto, Wolverine, Storm, Jean, Quicksilver (desperate for approval), Mystique, Rogue, Nightcrawler, and Iceman. 4. Jason, while not killed, is psychologically abused by his father and is filled with self-loathing for his powers, which Jean and Kurt help him to slowly accept. 5. Jean doesn't die, nor is her phoenix potential shown yet. 6. Post-credits: Jason is invited to Genosha, though it's revealed he was infected with "the cure" making him no longer a mutant. It originally starts to spread as an airborne disease, but Wanda also exhibits her reality warping powers, preventing it from spreading.

X-Men: The Last Stand 1. Mix "The Cure" storyline with "House of M": Finally, mutants have taken supremacy over the world, though most mutants don't realize that it's a facade. The X-Men team consists of Wolverine, Jean, Storm, Rogue, Iceman, Angel, and Nightcrawler.

2. Magneto finally seems like a better father, and we're introduced to Polaris. The Brotherhood includes Magneto's family as well as Mystique, Pyro, and Havok, who we find out to be Cyclops' brother. Havok ends up joining the X-Men. 3. While mutants rule the world, human scientists are secretly creating a cure for them, but only have one vial. They attempt to use it on Magneto (assuming that he is the cause of this), but Pietro sacrifices himself. Similar to Mystique's sacrifice, Magneto turns his back on Pietro sending Wanda into a rage. Inspired by the cure, she utters the words "No More Mutants." As we watch, reality soon goes back to normal, with most people having no recollection of the alternate reality. Here, it is revealed that most of the X-Men have lost their powers: only Wolverine, Havok, Storm, Jean, and Colossus, and Shadowcat (along with a few of the younger mutants) have their powers. 4. Post-credits: A few months later, much of the world is at a standstill. Most of the mutants are now human and integrated into human society, while the remaining mutants are continually bashed, ignored (because most agree their numbers are too small to be a severe threat), heavily monitored, or form agreements with the government in exchange for protection. During a mission to help NASA, Jean is exposed to a solar flare. When she reappears on earth, she tells Scott that she is no longer Jean: "I am Phoenix."

Lemme know what you think!

[reviewsthatburn]

I’m so happy about BITTER MEDICINE. Often I can get very stressed out by stories where the two parties are lying or misrepresenting things, usually because the reasons don’t make any sense, except as transparent excuses to further the plot. When this happens I either become distressed by the lie(s) or I’ll lose the suspension of disbelief and can’t stay in the story. At all points in BITTER MEDICINE, Elle and Luc are being as honest as they possibly can be with each other (given the constraints on them). As they grow closer they work first individually, and then mutually, to get rid of the barriers between them. In each new stage of their relationship they work to accept whatever obstacles cannot yet be removed. The story is driven by their need to fix their individual problems, gradually turning into a realization that they can help each other accomplish more than either could without help.

Full Review at Link.

[hellsvestibule]

I think the original “this character (usually a woman) has no agency” discourse came from a good place of noting that women in mens narratives often end up like, secondary props who aren’t allowed to make meaningful decisions that impact the plot without directly tying it to their love interest or father/brother etc. But I also think some abstract concept of agency can’t be the end all be all of how we discuss narratives bc I actually like when lack of agency and helplessness are used as themes. like. Revoking a characters agency being a deliberate choice they have to contend with. Like not just incidental to the authors lack of understanding that women need to make decisions and be capable of the same breadth of flaws and missteps as men. But as a discussion of what agency even means, who is denied agency and who it is attributed to but might not actually have it the way they think they do. Instead of seeking to put an abstract concept of agency on a pedestal as the ideal character arc I love seeing narratives where the types of men who think they have agency simply by virtue of being men or being the hero are denied this and now have to contend with what it means, the idea that all people are vulnerable and can simply have their rights and autonomy revoked at any time when dealing with a force more powerful than them, and rather than using it as an ends to seek this masculine actualization that ends when the story ends and they become The Hero just this realization of like. Shit. I’m not permanently going to be the guy with all the power who makes all the decisions and even if I escape the situation that renders me powerless I have to contend with the fact that those without power are to be protected not looked down upon bc they aren’t the 1% that were lucky enough to escape. Bc you can’t escape powerlessness forever, no matter how many weapons you accumulate. Everyone will be weak someday.everyone gets sick or grows old and dies. Evaluate the obsession we have with the abstract concept of agency, how it’s not always a Good thing, and how it can poison you and spur you to revoke the agency of those around you in order to increase the perception of yourself as powerful, to avoid the pain of being seen as weak, how being misled into thinking you’re the one with all the power is crushing once you finally hit a wall where your decisions in the matter are rendered irrelevant. This is often twice as impactful to me as just. Giving a girl a weapon. Bc it’s challenging narratives of masculinity as an unequivocal good and femininity/passiveness as “weak” or bad rather than simply folding to it.

[theliterarywolf]

Whole I've heard of this controversy there's one thing I'm curious about is what is an omega in the context of omegaverse? Like I get it's based of that incorrect wolf studies thing but why are we adding more Greek into it?

Alright, so, crash course on Omegaverse (Disclaimer: said explanations may include some well-meaning snark)

Omegaverse, originally a fanfiction trope (with the, as of now, first usage of said trope being for a Supernatural fanfic), is a setting where humanity is divided, not by the conventional human gender-binary, but a secondary one. This division goes:

Alphas - The big, strong dominants of society. Typically the ones filling out careers such as doctors, police officers, military, CEOs, etc. Occasionally go into rut cycles where they grow violently aggressive and can't think about anything besides rutting into the closest thing resembling a hole. Said ruts can be triggered by the scent of an omega or they simply occur on a monthly cycle. Oh, also, something something -- male alphas have giant dicks that can knot -- something.

Betas - The supporting class of society. Essentially the closest to what regular human beings would be. Typically only used when an alpha character or an omega character needs that conventional 'unthreatening best friend or handmaid' type.

Omegas - The 'You're fucked, both figuratively and literally' submissives of society. So omegas are typically the lowest class of society due to many alphas seeing them as 'needing protection' or 'just being a hole to breed and make pups for me'. If an omega is allowed to have a career, it's typically nursing, teaching, or some matter of entertainment. Outside of that, you're a house-spouse. Occaisionally go into heat cycles where they grow agonizingly desperate for any kind of alpha to, well, breed them. Said heats can be triggered by the scent of an alpha or they simply occur on a monthly cycle. Oh, also, something something -- they produce copious amounts of slick to the point that after a heat cycle, they have to toss out their clothing and sheets -- something.

Some writers will add their own twists on the trope to either make things less 'squicky' or give omega characters more agency but, for the most part, that's what Omegaverse is.

[jikxn]

Rum’s subordinate theory

—————-——(Haneda problem)———————

(File 1066)

The ASACA song and Soul Detective cases demonstrate that the BO continues to view the Haneda case as significant. Despite their fixation, RUM disguised himself as a sushi chef to monitor Kogoro, rather than to investigate the cause of his mistake 17 years prior.

(File 1060)

In this arc, we have seen RUM utilizing other agents to accomplish tasks that would prove difficult for him to complete alone. For instance, he attempted to investigate the Kudou situation but was unsuccessful, so he relied on the assistance of Bourbon. He also utilized Vermouth to investigate the Yuusaku TV case.

Gosho has established that RUM uses agents to his advantage. Given his continued interest in the Haneda case, as evidenced by the BO's actions, it's natural that he would use an unnamed agent to keep an eye on the situation. This would explain why he has the time to investigate Kogoro and keep the Haneda case as a secondary concern.

(File 423)

Following Pisco's death, the Nomiguichi family disappeared, and the BO burned Pisco's house. Haibara states in File 242, "All suspicious individuals are erased... that's their style." This statement was further expanded in File 243 to state, "If they are aware of your involvement with the organization, it will undoubtedly become a heavy burden for them.

(File 422)

My interpretation of this is that the BO places a strong emphasis on eliminating loose ends. Given RUM's mistake in the 17-year-old case, this emphasis would likely extend to that situation as well. The BO is operating in Japan, and the only surviving family member of the victim in that case is Haneda Kouji. However, there is no evidence of any attempt to harm or even monitor this family.

Shukichi became a member of the Haneda family and even followed in Kouji's footsteps. It's possible that the Hanedas' wealth and influence, which provide them with connections to organizations like MI6, have created a protective shield for themselves in case the perpetrators of their son's death come looking for them, making it difficult for the BO to infiltrate.

In conclusion, the BO's reputation for tying up loose ends is well established, as demonstrated by the events following Pisco's death. This precedent would not likely be disregarded in a case where the number two of the organization made a mistake. Therefore, it's reasonable to assume that the BO may be keeping an eye on the Hanedas.

—————————(Intro cases)—————————

Gosho has established a pattern in the RUM arc where he introduces characters that are crucial to the plot. In these cases, he employs symbolism and provides hints through references to give readers a deeper understanding of the character's role in the story.

(File 916)

In the introduction case for Kuroda, he mentioned that he had heard rumors about Conan from the National Police Agency (NPA). As a result, he referred to Conan as "the sleeping Kogoro's bag of wisdom." It is known that Kuroda acts as Bourbon's handler within the NPA.

(File 975)

In Wakita's intro case, the spirit horse reference symbolizes RUM. We now know, for the most part, that Wakita is RUM.

(File 966)

Rumi's introduction case centered around the discovery of a wealthy person's skeleton ten years after their death by the Detective Boys. The headmaster of the case mentioned the need to atone for one's sins, symbolizing Rumi's desire for the BO to pay for their sin of killing Haneda Kouji. The references to Whiskey and Ebisu in the case also hold significance. Whiskey symbolizes the BO, and Ebisu symbolizes good luck. This has since been proven true, as Rumi has an APTX list, connecting her to the BO, and has Kouji's good luck charm.

In conclusion, Gosho intentionally includes important information in character introduction cases that are related to the plot, providing readers with an understanding of what to expect from the new characters.

(File 981)

Gosho appears to have intentionally emphasized the unlucky nature of Friday the 13th in Iori's introductory case. Through interactions between Iori and Bourbon, the reasons for the superstitions surrounding the date were highlighted, with Iori going so far as to interrupt Bourbon to further emphasize the point. This emphasis on the unlucky day could have been done to prompt readers to question its true significance. Additionally, Bourbon mentioned that Friday the 13th only occurs twice a year, as if Gosho wanted to remind readers of another instance in the series when the unlucky day was present.

(File 606)

The main timeline of Detective Conan takes place over the course of one year, and the only other time that Friday the 13th occurred was when Akai faked his death, which was related to the BO. In this case, Gosho continues to follow his formula of using symbolism and references in plot-related character introduction cases. The unlucky day of Friday the 13th symbolizes that the introduced character will bring misfortune, and this character is also related to the BO, as previously seen on this day in the past. There is also a subtle reference to the Iroha Sushi case, in which RUM was involved, further reinforcing this point.

—————————-(Chance)—————————-

In super digest book 100+, Gosho was asked about what led Iori to become Momiji's butler in the Ooka family, and he responded by saying that it was something to look forward to. This highlights the importance of Iori's role in the plot. As the BO places a significant emphasis on tying up loose ends, it is natural for them to want to do the same in the Haneda case.Given the plot, it is likely that Iori is the only person who can accomplish this task. Until recently, Gosho has kept Iori's role as a mere side character, leading readers to believe he is not important. However, this is likely because Gosho is saving Iori for something unique.Infiltrating the Haneda family might be difficult, so the next best thing would be to intercept the communication bridge between them and their associates to gather intel. Iori's role as Momiji's butler in the Ooka family is likely to be significant in this regard.

(File 1042)

Iori has the means and influence to keep an eye on them using this method because the lover code case revealed his accessibility to non-public information regarding them. 

(File 1040)

We can also see that Iori has the ability to be very persuasive towards Momiji. He gives her the necessary arguments to overcome any obstacles that she may encounter. This shows that he is not just a passive servant, but he is capable of providing valuable input that can move Momiji forward. If his true intention is to gather intelligence on the Haneda family, then he would have the ability to easily manipulate Momiji and extract information from the Ooka family as needed.

—————————(Scotch)———————————

The RUM arc started with the notion that the organization would try to eradicate any lingering spies. Bourbon also mentioned Scotch for the first time here.

(File 1090)

During the resolution of the scriptwriter's murder case, Iori made a significant remark, saying, "It appears that he is being held back by his past ties." This statement referred to Bourbon's actions. Iori was pointing out the latter's recklessness and how it had made him appear suspicious. By mentioning this, Iori is highlighting Bourbon's weakness. Conan also reinforced this point by mentioning the PSB on the same page.

(File 898)

If my assessment is correct, Iori gave himself away in his interaction with Kuroda. It's important to recall that the BO knew that there was a mole among their ranks, but only knew their face and not their name. This parallel is created by Gosho.If someone had tipped off the BO about Scotch's identity, that person must have been close enough to identify the NOCS within the PSB network, but not their real name. Similarly, Iori referred to Bourbon as the blond-haired man, indicating that he doesn't know him on a first-name basis. However, he was able to identify Bourbon's weakness, which suggests that he had in-depth knowledge about Bourbon's infiltration of the BO, specifically regarding the Scotch situation.

(File 897)

The anonymous tip must have come from the NPA/PSB because people from other organizations would need more information to identify spies in the network. For example, Akai suspected Bourbon but could only verify after learning about his nickname, zero. 

(File 1090)

Gosho's revealing of the dark silhouette during Iori and Kuroda's interaction was a strategic move for two reasons. Firstly, it redirected readers' focus away from Iori's telling comments. Secondly, if the shadowy figure is indeed Yasuharu Haneda, it reinforces the notion that the BO has a mole closely monitoring the Haneda family.To condense the idea, the anonymous informant who revealed Scotch's identity could only provide a facial description. The FBI required more than just a face and suspicious behavior to identify a spy within the NPA. This suggests that the BO might have a member within the NPA/PSB network who could get close enough to identify the NOCS but not reveal their name. Iori, who doesn't know Bourbon's name, was able to expose him as a spy and reveal his vulnerability. If someone did tip off the BO, Gosho could be drawing a parallel between Iori and the traitor who exposed Scotch.