Snake_King

I suppose you could do a little filler or something that involves Elsa getting “more acquainted” with her fellow harem members, as well as having her experience anal, but that’s just a suggestion. It’s your story, so do what you will with it. As I said, the use of Let It Go is harmless, so it’s fine to include it. I’m kind of okay with Elsa being asexual or chaste as well. There’s been a theory going around that Elsa might be a lesbian purely based on the fact that she doesn’t show much, if any, of an interest in men. My counter-argument to that is “Did she show any interest in girls either?” Plus, I have a real problem with the mentality of “Well, they never showed an interest in the opposite sex, so they must be gay!” That’s a stereotype and represents a very narrow worldview. After all, the character could just as easily be asexual and/or aromantic, as in not interested in a sexual and/or romantic relationship with anyone of any gender. Point is, don’t make assumptions about someone’s orientation based on stereotypes.

A Merry Christmas and Happy Holidays to everyone!

Sorry for the long wait on the response. What’s up?

Can’t say that I’ve ever heard of “The Order of the Stick”. I was one of those who felt that the final “get-together” in LOK came out of nowhere and that it felt more like a gimmick for a cause. My opinion hasn’t changed, but let’s not go into it. Still, glad we agree on the need for stories showing how characters MAINTAIN their relationships.

I wish you luck with it. _ I recently watched a video that talked about romantic subplots between characters in stories. Among the things that they pointed out was something that I myself had noticed. Namely, let’s assume that you’ve written and established the character dynamics of the couple, you’ve led up to their big romantic moment with adequate development of both characters and their dynamic, and they’ve officially demonstrated their love for each other in a way that the characters and the audience find compelling. What now? Well, now you have two characters in a relationship. And here’s something interesting that’s bothered me – many, many writers seem to have ridiculous amounts of trouble writing characters in a relationship. In fact, most stories with major romantic subplots will end on the big-romantic-relationship-seeling moment and never have to directly address the consequences. And if they do have a sequel, a major issue in the sequel plot will frequently be that the couple is either having relationship problems or is actively broken up or (in the extreme cases) one of them is dead. Or sometimes, if the romance is a major component of a long-running TV show, the authors will just drag it out and pace it with drama rather than just have the characters get together as a healthy couple. And this is true even in situations where the characters have legit chemistry. It’s a bit difficult to understand why this is. After all, the writers will often resort to… Literary shortcuts like the characters having 5 seconds of prolonged eye contact that fast-track the romance into being an actual thing Literary shortcuts like the big kiss that clues the audience in on the relationship becoming official “Will they? Won’t they?” drama to keep the audience on edge and invested in the relationship …and then have next to no way of handling the actual relationship they spent all that time and effort building up to. This problem isn’t universal, but it’s pretty close. Most romantic subplots will end with the big kiss to establish that the relationship is official, and once that happens, it just kind of stops. It’s like “subplot over, relationship achieved, achievement unlocked.” Admittedly, a part of this may be that the process of building up a relationship can be more exciting than maintaining one, and is, therefore, more interesting to include among the actual on-screen interactions, but I do believe that we have a hard time portraying healthy relationships on screen. Now, I confess that I’m not the best person to talk about how real-world relationships work, but I can give an estimate for how fictional relationships can work. This comes from the few examples I’ve seen where the characters stay interesting after they’ve gotten together and they stopped all the “Will they? Won’t they?” nonsense. The unifying thread seems to be that the characters act the same before and after the big kiss, minus the “will they/won’t they” stuff, plus a little more PDA and something resembling total openness with one another. You know, like how people would logically behave in a mutually healthy and supportive relationship. Basically, they stay in character, but they also support and trust each other, and share a deep, mutual, and compassionate bond. And if one or both of them can’t be in character while having that kind of bond, then they shouldn’t be written with that kind of relationship, simple as that. Characters who can’t stay in character and be in a relationship at the same time shouldn’t be shoehorned into relationships. This obviously doesn’t mean that they can’t undergo character development during the relationship – in fact, they probably should – but if the only way for a character to be in a relationship is for them to stop being themselves entirely, then it probably shouldn’t happen, for everyone’s sake. Well, what do you guys think? RexFan12345, Praetor, Hide_My_Sins, Strange_idea, Red_Light_Zone, do you agree or disagree?

Omniharem, Overlord, and Naruko’s Pact (because of course, it does) get my vote. However, it's ultimately up to you to decide which one you do. Just choose whichever one you feel the most creative and writing energy for at the moment.

Another suggestion to consider for vampire girls or vampires in general, the strengths and weaknesses of vampires in the original Dracula novel’s canon, along with some lore that other versions left out: Strengths: Immortality & eternal youth sustained by blood if well-fed No shadows No reflections Transforms into a bat Super-strength Transforms into a wolf Weather control Riding moon beams Slipping through very thin spaces Can see in the dark Weaknesses: Can only enter with invitation Repelled by garlic Powerless during the day (though unharmed by sunlight) Repelled by holy symbols Can only transform at noon, dusk, or dawn Cannot cross running water A wild rose on his coffin traps him

Sorry for the lack of response. I would mainly suggest keeping the story simple and not complicating it too much. If you do want a more complex story, ease into it. Also, for the girls, how many do you have in mind?

Personally, I’d go with the son of the headmaster option as well as being a student or helper around the place, as that gives him more of a reason to be there.

Now, when you say that, do you mean the male character would be the son of either the headmaster or landowner or that male character being the landowner would be an option? Sorry, it’s just the way you wrote it got me a bit confused.

Well, who would you have it center around?

Understood, it’s just that referring to someone as “it” is considered dehumanizing, so I used “they” just to be safe. Very well, no pressure intended. Yeah, Spidey doesn’t exactly have a lot of notable villainesses (I checked, that is a word). Black Cat and Silver Sable aren’t exactly consistent in terms of villainy, though that depends on the writer. Other villainesses in Spidey’s rogues gallery would be: Ana Kravinoff – daughter of Kraven the Hunter Calypso Ezili – Kraven’s ex-lover Lily Hollister – Menace, a female Goblin who change appearance at will Dr. Lorina Dodson – White Rabbit, an eccentric female criminal whose costume resembles a cross between the Alice In Wonderland character and a Playboy Bunny Shriek – can control sounds, fly, and tap into people’s minds and bring out their inner darkness, and she’s the Harley Quinn to Carnage’s Joker The Venom symbiote did attach itself a couple times to Eddie Brock’s ex-wife, Ann Weying, though the experience traumatized her into committing suicide Janice Lincoln – daughter of Tombstone and the new Beetle That sounds fine with me. As for history, perhaps this might help: Mary Jane Watson – long-time best friend and girl next door Gwen Stacy – met in middle school before becoming a close friend Felicia Hardy/Black Cat – criminal he helped to reform and who still has the hots for him Betty Brant – co-worker at the Daily Bugle Debra Whitman – a classmate at Empire State University Carol Danvers/Captain Marvel – a fellow Avenger, had a few team-ups with her, and the two bonded over a love of junk food Kitty Pride – a colleague in the super community that he’s had team-ups with and who has a crush on him Black Widow – another fellow Avenger who flirts with him on occasion Rogue – another colleague in the super community that he’s teamed up with and has helped her through some emotional times regarding her powers Liz Allan – the girl Peter used to have a crush on back in high school but remained in the “friend zone” with her Jessica Jones – she had a crush on him back in high school and was even present when the spider bit him, then she later got powers of her own and became friend with Peter in the Avengers Julia Carpenter – another fellow Avenger who flirted with Spidey and made a cloth version of his black costume Silver Sable – worked with Spidey on occasion, and the two shared a passionate moment when they stopped a bomb from blowing up in New York Silk - also got bitten by the same spider and as a result, has an animalistic attraction to him That help any?

That’s good to know.

That may work as a story on its own, though I don’t think the academy aspect works for a story where a college-age superhero ends up warping reality with an object of god-like power to fit his own desires. If anything, Pete would probably still be in normal college trying to make ends meet and still trying to keep his identity secret. It happens.

Link?

When I thought it up, I wasn’t thinking too AU. The only villainesses I thought of including were the ones mentioned on the list and had an interest in him. After all, if Pete ends up rewriting reality by accident according to his inner desires, why would he want female versions of the guys he has to punch on a daily basis? Praetor hasn’t said if they’re doing it or not, so it’s a bit up in the air at this point. I say “they’re” because I’d rather not assume since I noticed Praetor’s not telling.

I see. Any ideas for the threesome I mentioned?

Not off the top of my head, and I haven’t really watched Bleach.

Uh…not really the kind of protagonist I’d follow, no offense.

True, that is kind of what they did with MK9, though in the regular Peggy Sue fic, the character goes back in time with all their memories intact on how things play out. Raiden just sort of had visions. So you’d have Pete as an already established hero in the remade world and not try to build up his hero rep all over again? Sounds good to me. As for Sue Storm, the only reason I brought it up is because in the Spider-Harem fics I’ve seen, they tend to include her at some point, though most of the time it just comes off as sticking it to Reed. The girls I picked in the list were all canonical love interests for Spidey at some point or another, whether in the main universe or alternative ones.

Well, Praetor, what do you think of all of this?

I think in the case of Darkseid, it was actually that he couldn’t use the Gauntlet because it didn’t originate from his universe.

Still, the whole “no Reed Richards” thing does free up Sue Storm, I will admit.

With all due respect, I think the whole “copy universe” thing kind of overcomplicates it a bit. Plus, having him change things before they happen sounds a lot like a Peggy Sue fic. In case you don’t know what a Peggy Sue fic is, it’s when the writer takes a character and throws them back in time into the body of their younger self, and the character uses their knowledge of the future to try and change things to the way they’d like them to be. The premise has multiple problems. The idea here was to put Peter into a world where his inner desires and wishes have been made reality by accident because the artifact he used read too deeply into his mind.

I was thinking of college age, but it depends on what the writer wants to do.