#( arc iv. ) how can you save the world from itself

[catastrophicdisasters]

alright i need to ramble abt TUA s4 somewhere that isn't at someone who doesn't care lmao

putting it under a see more bc a lot of it is based on stuff that's been said in the recent cast interviews and could definitely be considered spoilers

tl;dr: a theory post about who, if anyone, i think is going to die this season (and why, ranked by how narratively coherent i think their death would be, and how it would - or wouldn't - round off their character arc)

emphasis on the "i think", as obviously this is my opinion on what i think would make a satisfying narrative

so, in one of the interviews from today, Robert is asked how he feels about the "kind of sacrifice" at the end of the story, and his response is "yeah there's a kind of death that happens" and to then wax philosophical about physical death vs the kind of death that happens when the memory or the person is gone, and how there's a "kind of passing that happens"

and like, most people are convinced that someone's going to die by the end of the season, myself included, but i've just had another idea Robert really talked AROUND the word death, saying "a kind of death" and "a passing", and with him talking about that 'do you die when you physically die or when nobody alive can remember you' style thing, I'm thinking that maybe someone gets themselves erased from the timelines

so they still EXIST, as theyre not physically dead, but because nobody can remember them, it's still a kind of death (exactly like Robert said)

whether or not that person retains their memories is kind of irrelevant, though them keeping them does make for a more tragically satisfying arc - they gave up their existence to keep their family safe/save the world, and yet none of them will ever look at them with recognition or love again, and will never truly know just what they did for them. i think that could be done really well, as there's a special kind of beauty in a character who is happy to accept their own end in order to protect those they love (also, if i wanted to get super analytical of that, i could draw parallels between that idea and the trailer's choice of song - The End; the opening song of The Black Parade album, the funeral song that kicks off the narrative album with themes such as the life that comes after death-)

~

now, with that said, i want to go off about who my top choices for death/erasure actually are:

well, first i want to say who i don't think it's going to be, and that's Diego and Lila. and that is because they've set up this little family arc for them via Lila's pregnancy, and right from ep1 it was established that Diego was the most attached to Grace - his mother figure - highlighting the importance of the parental figure in his life. both of them have a strong sense of detachment and independence / not needing anyone else, while actually longing to be part of something, to have a family unit. so with the two of them now being married and having a child together, especially given what Ritu said in an article - that "they are not really communicating and are snapping at each other" - it sets up the perfect arc for them to find their place, together, and forging the family dynamic they both so clearly want.

I could talk more about them (i.e, Diego having multiple instances that make reference to his desire to prove himself to his father, vs Lila collapsing post s2 because she just wanted to know if The Handler - if her mother - ever really loved her), but that's not the point of this post

so working backwards from who i think is least likely (and why, obviously):

Viktor:

- originally i had a big question mark over Viktor, bc ive always kind of struggled to pick up the threads of his arc, but even then i still don't think that death/sacrifice would be narratively satisfying for him? is it possible that he sacrifices himself to save his family? i mean… i guess? he's always been more passive and less confrontational than the others, so even if the opportunity presented itself i feel like someone else would probably beat him to the punch

- BUT, that's still not actually the reason i think it won't be him - it's because i think a more satisfying ending for him would be for him to have everything he was denied in childhood. with him coming out, they've set themselves up really nicely to push an ending for Viktor that has him finding himself, understanding himself, and finally being happy with himself. whether he ends up keeping and accepting his powers or not makes no odds as long as HE makes that choice for himself! let him be surrounded by family/people who love him for who he is, let him choose to live for himself and be happy!

Allison:

- i have a similar problem with Allison that i have with Viktor, in that i don't really know where her arc is going, at least as far as the Hargreeves are concerned. Allison's been pretty clear that her priority is her daughter, getting back to her daughter, protecting her daughter. and now she has her back. and she even has Ray back!

- i've never reeeeally been a fan of redemption through death (though there are exceptions), so the thought of her being the one to die/sacrifice herself to save the rest of the Hargreeves just… doesn't sit right with me. particularly because i'm also fairly sure i read somewhere that Emmy said that Allison is kind of "done" with the Umbrella Academy family stuff, and that she's all about being a mother again, which brings me to my next point;

- Allison dying would actually have more of an emotional impact on Claire and Ray than it would to any of the Umbrellas. and, as nice as Ray is and I'm sure Claire will be, they are not the major characters in this show. they are not the ones we have spent three seasons connecting and sympathizing with. would her death still have impact? of course! but i think that there's too much to resolve (such as the events of s3, the fact that she already feels done with them all) to make her death be tragic and satisfying, and to still wrap up everyone else's arcs and the story as a whole

- her finding a way to accept and love her Umbrella family instead of constantly trying to distance herself from them, and learning to balance the family of herself, Ray, and Claire, with her family within the Umbrellas feels like it would be more satisfying for her than sacrificing herself to save the Umbrellas / the world

- could she still end up sacrificing herself to save Ray/Claire, and that in turn leads to someone else dying? yes, absolutely! or something happens to Claire and she no longers cares about living because she can't lose her daughter again? also yes, but that feels a bit... too dark, even for tua

Klaus:

- i feel a little controversial, putting him so far down the list (he's still placed fourth out of eight, though), but the thing is - with his powers back, he is functionally immortal. at that point, the only way he's dying is if he chooses to die. which could still lead to a satisfying end!! the boy who was scared of the ghosts he saw, who became scared of dying, becoming the man who chooses to die? very tasty potential, there. contrasts very nicely with the fact that he kept bringing himself back to life without even realising

- buuuut, that would conflict with what we've heard so far about Klaus's storyline this season; Klaus becoming a scared-of-everything germaphobe, having to learn "how not to be scared of life", falling back into addiction, and learning new aspects of his powers. i don't really see how all of that would lean into a storyline of him accepting death, ya know? it's a lot to do, with not a lot of time to do it well

- i will say, though, that i do love the idea of him somehow finding Dave in the afterlife, and that being part of helping him to accept death - that he can be reunited with the love of his life (this falls apart, however, when you realise that Dave's actor isn't currently credited for any episodes on imdb. still doesn't mean that he won't be, but... makes it less likely)

Luther:

- i genuinely debated with myself about who gets third slot between Luther and Five, but ultimately decided on Luther (which i'll further explain during Five's section)

- Luther literally has no purpose outside of the Umbrella Academy. in s1, he was defined by his being the only 'true' remaining member of the Academy, and having been sent to the moon for a seemingly pointless mission (and even though we now know that he was sent there to protect Abigail - she's alive now, so that doesn't really need revisting). s2 also had him at a loose end - he was fighting simply because that's all he thought he was good at, he tried to give his relationship with Allison another go once he realised she was alive, only for it to turn out that she's married, and then he was a (frankly, terrible) spotter for Five during the paradox psychosis fiasco. s3 literally had him get kidnapped by the Sparrows without anyone really noticing, and although he did eventual fall in love and gett married to Sloane, she vanished with the resetting of the universe. Sloane, incidentally, also doesn't have her actor listed on imdb as returning for s4

- he doesn't really have a multi-season arc to finish off; in fact, the only consistent facet of his personality is his desire to protect his family and 'do the right thing', whatever that might be

- i feel like for him, a good arc to send him on would be him becoming comfortable in his gorilla-body and maturing into the confident leader that would be expected of a "Number One". but, given the way his character has evolved (or devolved) through the series so far, i don't really see them doing that

- in fact, i think it's much more likely that they kill him simply because they don't know what else to do with him. which, ya know, kind of sucks

- HOWEVER, i do think there is good potential in having the first major leader-like decision that Luther makes - free from the influence of others - being to sacrifice himself to save his family. the one time he stands up and says "no, i've made my decision, and it's time for you all to respect that" while also tying it back to his overwhelming desire to love and protect his family? oh yeah, that'd be some good shit right there

Five:

- my god please just let the old man rest

- so, i think Five is less likely to flat out die than Luther is, but i do think some kind of timeline fuckery is much more likely where Five is concerned

- considering what Adian has already said about Five's arc this season

- "He doesn’t know what his place is in the universe. When he goes on this emotional arc with Lila, for the first time, he feels there is a reason for living." - i honestly think killing him would be an incredibly shitty thing to do. having him finally, finally, find his place in the universe, after getting stuck in the apocalypse at THIRTEEN, where he finds his entire family dead, proceeds to then spend 40 years alone, trying to get back to his family, before being picked up by the Temps, turned into a killer, finally getting back to his family, only to end up stuck back in his teenage body AND having to deal with three weeks of constant apocalypses, to then kill him???? jesus christ that would SUCK. like, i'm aware i have bias because Five is one of my favourites and i think his arc has some insane narrative potential, but i cannot be the only one thinking that if they kill him after all of that it's just going to leave a bitter taste?

- THAT SAID!! that said, i do think that it's likely that he would be the one that ends up getting erased from various timelines in order to save his family

- his whole thing has been about getting back to his family to save them from the apocalypse - to have him find his ultimate purpose being to do exactly that? it makes sense!

- in erasing himself from this timeline in order to save it, his purpose also then becomes founding the Temps Commission, with the intention of preserving the new main timeline that he literally 'died' to create and protect (and considering that they technically exist outside of the timeline, who is to say this isn't all part of Commission Founder Five's master plan anyway? hell, given that the Commission resides in the year 1955, he can go play guitar with Marty McFly and bitch about the perils of time travel while he's there)

- it would also solve the awkward elephant in the room; the fact that as of s4 he looks 18 but is actually in his 60s. he can erase himself from the main timeline, putting himself back into his old man body, and retire in peace knowing he's successfully saved his family and given them a future by also saving the world

- it's so deliciously tragic

Ben:

- oh god okay here we go

- i adore Ben and don't really want him to die, but i'd be lying if i said that his death wouldn't be incredibly satisfying, in the way only a true tragedy can be

- we all know this season is going to be focused on him and how he is going to be the one to cause the apocalypse this time, so it ending with him would make sense

- Blackman (the showrunner) has also said that he "wanted to come full circle with the family relationship". what is the FIRST thing we know about Ben? he's dead

- for the first two seasons, he haunts the narrative in a literal sense by being a ghost that only Klaus can see and so still sort of interacting with things, but considering we don't yet know what the Jennifer Incident is and how it actually affected the Umbrellas moving forwards, it could turn out that he has also been actually haunting the narrative - he's dead but so much has been driven by the nature of his death

- i also just really love the idea that the first thing we learn about Ben is that he's dead, and that also ends up being the last thing we learn about him

- taking it a step further, given that the Ben in the recap was definitely Sparrow Ben, it would be disgustingly, delightfully tragic for the final fate of Sparrow Ben to be the same as that of Umbrella Ben - that nothing any of them did actually mattered, because in the end, Ben was always going to die (can you tell i like a good tragedy)

- also, going far too deep into it (to the point that this isn't so much evidence that Ben is the most likely to die, but just a nice little tie in), parts of Ben's arc very much tie into the narrative of The Black Parade. you know, the MCR album that the song they used in the official trailer came from. The Black Parade, as an album, opens with a funeral song (just like the show opened with a funeral) and then continues to go over The Patient's life after death, the experiences from the afterlife, and even reflecting back on his life. quite fitting for Ben, in a way

- ANYWAY! Sparrow Ben also spent a good chunk of his time in s3 desperately wanting to be part of the Umbrellas, but having no idea how to go about it. the thought of him sharing the fate of Umbrella Ben and therefore becoming just like him, becoming Umbrella Ben? poetic

- there is also my sort-of half-theory, that the reason Ben is being overloaded with the Marigold is that he's actually somehow channeling both versions of Ben, so has twice the amount he should have, thereby destabilising him in some way, and one of the Bens needs to die. but, that doesn't really tie into Jennifer in any way, because that wouldn't have happened in the original/main timeline

- Ben is also the only character to have actually existed as multiple versions of himself in the two timelines - again, it is a perfect tragedy for him to die in both of them. maybe this time they save him from the Jennifer Incident, only for him to choose to sacrifice himself to save them all. ergo, it didn't matter, it didn't matter, he was always going to die

- i really like a well executed tragedy, okay? i also feel like it's one of the few satisfying ways to successfully kill off a character. still hurts like a bitch, but at least it was worth something

~

okay well, this got sufficiently away from me! kudos to you if you read the whole way through, and i do not blame you in the slightest if you skipped through lmao i also probably missed a few things, and maybe got a few things wrong so uh, whoops on that

tl;dr: probably won't die: Diego, Lila unlikely to die, but possible: Allison, Viktor wouldn't surprise me if they died: Klaus, Luther probably won't die, but might end up erased from the main timeline: Five most likely to die (and would be beautifully tragic): Ben

again again - purely my opinion!! and also what i'd like to see, based on what i personally feel can make a good narrative!

good luck for the 8th brellies <3

[suffarustuffaru]

Hi so i found this post about a reinsuba soulmate au? but I can't remember the name of it I don't remember the person who posted it I've search everywhere for but can't find it I only remember some of it I think it was a soulmates has the others scars there was also a were reinhard is desperately searching for his soulmate because they were fine just a awhile ago and suddenly they just started getting the scars and doesn't know it's Subaru because of return by death I think The scars are in gold on the other soulmate? I think I saw your name somewhere it's fine if you don't know but if you do know please let me know.

OH i absolutely know which post youre talking about!! it was an idea on the fanfic thread a few months ago, and i do sometimes go on rezero reddit so i contributed to some of the ideas in this thread here.

yeah so for everyone else who doesn't know - the fanfic/AU idea was basically that soulmate pairs get each others scars (physical OR psychological) in gold on their skin. think of it like kintsugi art, where you repair broken pottery by filling in the breaks with gold -

like this basically!! (meaning subaru might notice the similarities between the whole soulmate system and kintsugi itself yes)

yeah so to summarize all the ideas me and a few other people had in that thread, basically reinhard and subaru are soulmates (this can be platonic or romantic or however youd like to see it). reinhard takes on ALL of subarus physical and psychological scars so reinhard's basically Covered in them. meanwhile because reinhard doesnt physically scar, subaru only gets psychological ones - a collar mark around his neck to symbolize the collar of submission (a collar the kingdom puts on reinhard to suppress his powers; reinhard isnt allowed to leave the country without this collar on), and later in arc 5, subaru also gets a giant slash mark across his chest (to symbolize reinhard's death in arc 5). subaru's physical scars are self-explannatory - the psychological ones though include markings around the lips (for the rbd taboo :(( ) and a handprint on his chest right over his heart (because. satella/witch of envy).

meanwhile reinhard is guilt stricken because oh god my soulmate is SUFFERING and i cant even save them :(( i cant even find them!!! but at least i can take on all the burden of their scars for them ahahah i deserve this. and then reinhard looks over at subaru and goes hm. a collar mark. reminds me of the collar of submission :(((( but i cant possibly be subaru's soulmate!!! slavery is unfortunately commonplace in this world, subaru, perhaps you should go look in kararagi? :<<< so then reinhard ends up going on a wild goose chase for a soulmate that was LITERALLY right in front of him. subaru either doesnt notice the growing scars on reinhard until later (because they dont see each other very often) orrrr subaru is sweating buckets because he of course cant explain ALL of those scars so hes like haha im gonna keep quiet until i figure out how to break the news.

but then reinhard dies in front of subaru in arc 5 and then subaru watches as not only does reinhard come back to life, a new golden slash mark appears across subaru's torso that perfectly matches the wound reinhard just died from.....

yeah anyway!!! im quite fond of soulmate aus actually and this idea is particularly fun yes :o both in concept and aesthetically. ive always rotated a bunch of different rezero soulmate aus in my head and this idea is pretty cool i think!!

[crabs-brencil]

ugh the second pacific rim makes me so sad because like. it's this insane amalgamation of what could've been, and im sure other people have said this before but whatever i just rewatched it and im in my feels rn so buckle up ig.

firstly - acghfshg they literally got rid of all of silly little things that made the first pacific rim *pacific rim*, except for the like two occasions when they didn't. like. soundtrack?? where did it go?? there was one (1) scene that had any sort of soundtrack usage the way the first movie did it, and it was a callback scene to the first movie. and the first pacrim was rife with ridiculous action-hero quips (think raleigh's bro saying "let's turn up the heat" in the middle of a fight) which pacrim 2 did try to do but it was so painfully a product of it's time bc dear god does it take itself way too seriously for any of the quips to land. not saying that john boyega didn't have his moments but like. they were the type of moments you'd find in any movie produced in that time.

secondly - charlie day and burn gorman put their whole actussies into that performance -- because goddamnit pacrim 2 was supposed to be an ode to hermann and newt's relationship -- only to get shafted at the last hour. like seriously their arc in pacrim 2 is so fucking heartbreaking, the two of them going from being so in tune with one another as they were at the end of pacrim 1 to drifting so far apart over ten years. and you can tell that they don't really want to believe that they don't really know each other anymore either, because like come *on* the sheer apprehensive hope on hermann's face when he first comes up to newt, and the way his face just *falls* when he asks "you won't help me?", and newt letting himself get dragged away and letting hermann go on even though he's clearly in a rush. and the way the both of them try to ignore how they've both changed over the past decade, because they have changed out of sync, and changed away from each other, and they both remind the other of what it used to be like, but it doesn't feel the same anymore because it isn't the same and just. ugh. that proverb about men and rivers. and like you can tell that what's left of newt is like. punching the prison walls of his brain, because of the sheer regret in his face when he has to hurt hermann, or the way he tries to avoid shit talking hermann when his boss clearly expects it of him. and obviously hermann having to see his friend disappear like that. going from hugging him outside the elevator because it was finally like the good old days again and they were on the same side and they would fight the bad guys and save the world again, to finding out that the person the world needed saving from was newt. and all that just to end the way it did. the both of them are entirely forgotten after hermann checks over the rocket plan and newt gets punched out.

and like obviously they were vying for a third movie because the set up for a newmann flavored reunion was literally right there, but like asfhjdg.

thirdly - mako's death??? that could've really been something, they could've used it to have like an actual lambert/jake moment, where they actually get to reconcile, but it might as well not have happened what with how the movie actually went about it.

bleh. im sure there's more to be said that im just forgetting about but whatever, it's way too late for me to care, and if any of the stuff ive said has been addressed in like interviews or smth, i wouldn't know about it as ive only seen the movies themselves and i don't particularly care to hunt down such footage.

anyways thanks for reading, if you've got this far you're a real one <3

[sepublic]

Sometimes I do have to question the decision to make Samus into the Chozo's personal champion/warrior; I think there's def some questionable moral implications about this. Especially when you find out that the Chozo let Raven Beak donate his DNA into Samus', which is just a whole can of worms; How the heck did this happen, how did they agree to it??? Did Raven Beak threaten them, why did they never tell Samus? Why an interest in Samus? How did Mother Brain think of all this, because I'd be surprised if she just never noticed despite her massive control over Zebes.

It's different not mentioning it was Gray Voice's DNA specifically, because I can see why it wouldn't be deemed relevant by either the Chozo or Samus herself up until the circumstances of that reveal. Samus definitely knew they donated somebody's DNA from that community, and she only knows of Chozo on Zebes, not Tallon IV or SR388.

I could see the Dread arc in a Metroid show being a storyline where Samus is kinda forced to confront her Chozo heritage, her relationship with them, ask these sorts of uncomfortable questions; I think Samus has a problem with seeing herself as only a weapon, a destroyer, which should make her dynamic with Adam compelling in theory because despite being a military commander, he does try to remind Samus that she should have an existence outside of these things. And this plays into his AI reincarnation finding a way for Samus to survive Fusion while still completing her objective. The fact that Adam himself was a military human might play into this, because he might understand firsthand how Samus feels the need to be her role; More on that in a bit…

And after Fusion, after the guilt of the Metroid genocide, and now carrying one's DNA within her, I can see Samus having a lot of questions about what she is, who she's made up of, etc. So in the buildup to the proper Dread storyline, I like to imagine that after Fusion, Samus actually goes to Earth, the ancestral homeworld of humanity, to reconnect with that original side of hers, with Rodney and Virginia's.

Seeing how much humans are used by the Federation as attack dogs (per my own HCs and the series itself) makes Samus wonder if there's more than that, hence Earth. It's a way for her to clear her head from depression and take a damn vacation with Adam, who has his memories again... Maybe Anthony? I think Samus might be in too much of an awkward spot with the Federation to invite Anthony, because that would put him in such an uncomfortable position as a Federation employee himself.

Still, seeing the role that humans play as the Federation's infantry species makes Samus wonder, at some point; Is that why the Chozo chose to adopt me? Obviously they saved me, but they could've just left me at an orphanage, maybe insisted on seeing me through a successful adoption process. But instead, they took me to Zebes, away from my people, and changed me to be more like them. Maybe when I joined the Federation, it was in the hopes of reconnecting with my human side.

It's a bit of irrational, panicked doubt that Samus has the luxury of being able to voice to Adam, who acts as a more objective, rational observer after becoming an AI; He's also reconnecting with his emotions, and we possibly get an arc of him showing Samus his home on Earth and where he came from, if he isn't from another world entirely like Samus herself is.

There's definitely a recurring question: Did I even know my people? Do I know who runs through my veins? The Metroids are a good example of this question, since Samus thought of them as just dangerous animals, and for a brief while as unnatural bioweapons after learning more on SR388 (which helped to justify their extermination in her Mind). But then she meets the Queen and then the Infant, and has her whole world rocked via gradual realization.

So Raven Beak showing up is the perfect time to contribute, when Samus starts to reconsider her relationship with the Chozo, her existence as a weapon. And Raven Beak outright says, Samus was groomed by the Thoha into their weapon because they were cowards.

He says that the Thoha were hypocritical, useless cowards; Despite their supposed devotion to peace, down to making it physically painful to inflict it, they still had plenty of workarounds. The Thoha still saw firsthand how violence was a necessary, natural part of life; Case in point, the X were not about to respond to diplomacy, so the Thoha had to create the greatest bioweapon the galaxy has ever seen. And this bioweapon, despite their attempts, would be weaponized later on by so many others, and cause so much destruction.

They also saw the need for the Mawkin; Despite their hostility and dismissal of their 'warmonger' brethren, the Thoha accepted their help when pushed into a corner. It was Mawkin soldiers who gave their lives sealing away the Metroids, so that SR388 might live. So perhaps, then, it was only justice, blood for blood, that Raven Beak slaughtered the Thoha for the deaths of his soldiers.

(I don't see him as being sincere in terms of 'avenging' his soldiers, because I prefer to write the members of a cause as less sympathetic the higher up the command chain they go; Feels truer to real life imo.)

This is a very uncomfortable position for Samus, she's backed into a corner and cut off from a friend like Adam who would be there to speak reason and back her up; Here, she feels alone. This is nonsense, Samus insists. The Thoha made themselves resistant to violence so as to encourage different methods, another way.

Yes, and those 'different methods' were simply to make others do the violence for them, Raven Beak notes. That's why the Zebesian Thoha groomed Samus into their own Metroid, why they accepted Raven Beak's DNA donation. The Thoha weren't trying to minimize violence; They simply sought to keep their hands clean of the dirty work by manipulating/creating others to do it for them.

But Raven Beak knows, he's figured out there's no difference; At that point, just cut out the middle man, do it yourself! This is why the Mawkin are the loyalists, while the Thoha and other clans are traitors; Only the Mawkin remain the True Chozo. And Samus must join them, because like the Mawkin she knows the simple truth that violence IS a natural, necessary part of life. She's seen how naturally vicious animals can be, engaged in that violence herself.

Other things are also necessary, Samus challenges sarcastically. Do you expect me to increase those tenfold in my routine? Raven Beak dismisses that question; Maybe if the situation calls for it. But in this chaotic state, the galaxy needs violence more than it does diplomacy, and so violence is what Samus must offer.

On Raven Beak's end at least, he WAS interested in Samus' status as a human; The Federation's most widespread infantry species. Especially given his plans to clone an army of Metroids... And then an army of Samuses. In general he was intrigued by the use of bioweapons and chimeras, hence Raven Beak adding to hybrid warrior Samus.

This makes it all the more poetic that Raven Beak would forcibly become a chimera himself, thanks to an X; Fusing with Kraid's DNA, with Kraid and the Space Pirates as a whole also operating on the idea of "We are physically superior, especially in combat, so we deserve to take advantage of that for ourselves and rule. Also Metroids are good bioweapons."

So despite their opposition to one another, the Space Pirates and Mawkin are truly two peas in an X pod, aren't they? Raven Beak 'got his wish' by fusing with the Space Pirates' most physically powerful member, and indeed his kidnapping of Kraid might have something to do with his eugenics and bioweapon plans.

Maybe Samus brings up, that beings like her and the Metroids are just a few examples; But the majority of Thoha options was peace, and Raven Beak's folly is that he only recognizes violent options and their success, while only remembering the failures of peaceful options. But it just goes to show how flashy they are, that the Mawkin are too 'bored' and 'under-stimulated' with the banal work of real peace to glorify it. Maybe Samus says this, or Adam, or even Quiet Robe-X.

Point is; If Old Bird is still alive out there, Samus has a LOT of questions for him and the other Zebesian Thoha when they reunite. That's assuming Raven Beak didn't get to them first, and unlike the game, the Metroid show has them actually appear in-person to add to this chaotic arc for Samus. Maybe this could lead to a respectful disagreement, where Samus decides she HAS to fight and this is necessary; But she understands why the Thoha are averse and feel shame, after their warring past.

[kosmicdream]

Ode to Togashi

Stream of conscientious incoherent rant about manga/hxh below, read at your own discretion as i AM NOT EDITING IT: 

While I’m still in the mood to talk about art and what i love about manga, i feel like i wanted to share (some) of my thoughts on why HXH continues to be one of my favorite stories. Togashi’s writing method continues to be probably like, the closest one that i aspire to replicate in my own work, partly because i love to see how much it builds and learns from itself, reinvents itself, ect. But i DONT think Hxh is perfect, even if i wouldn’t change anything about it or togashi’s writing style. 

When I first got into HXH, it was actually through the old anime. I watched that all the way thru before reading the manga, and when i was watching the anime it was during a period of time when i hated all shonen. I still kinda hate “the shonen” model, despite loving many shonen series, but something abt HXH pulled me in to give it a try and i was quickly hooked. I of course, already had experience with YYH growing up as a teen but i somehow missed HXH completely until my early 20s. I had already started trying comics by then, but it was EGGSHELLS and i had not started FFAK at that point.

HXH almost lost me at greed island my first round, ngl. I appreciate it now, andi still think the set up for Greed island was amazing but the arc itself.. I was not into it, mostly cause i think the villain for it was kinda lackluster and i didn’t really think the world of greed island had a strong design sense. There was interesting aspects, i enjoyed Bisque as a new character and she helped carry a LOT of the weight of that arc for me, but it was kind of a drag. IDK if it was also partly the adaptation for that arc, but i didn’t enjoy it much more in manga form either. It just went a bit faster. However, the end of that arc and the final fight was surprisingly brutal and enjoyable, which made me optimistic and helped me to continue. And then the chimera ant arc was the first arc i read ONLY manga first and i truly fell in love with it, obsessed even. That arc, as many readers already know, is probably like the closest thing to FFAK’s “Parent” for inspiration. Obviously, FFAK draws from a lot of things (Trigun is probably the 2nd strongest influence on FFAK) but it isn’t quite the same as HXH. As MUCH as i adore hunter x hunter part of me does cringe and laugh that like, in the end, a battle shonen manga still excited me that much but like.. As MUCH as i clearly love battle manga.. I am so over them. You know? Who cares. IMO. No matter how great it looks, i probably am never going to be more impressed (visually) with an action scene than the ones Yukito Kishiro drew. He did it, He won the action manga game to me. I have no idea what’s actually happening in Gunnm most of the time but as far as the visual spectacle of it all, it literally doesn't even make sense how good his action scenes look. (I could talk a lot about Gunnm too, but i’ll save that for another time IG) Like how the fuck does someone draw that good and it just made everything else by comparison just like, not.. Matter too much to me anymore. Which is great, because I can then look at other aspects for a work rather than just being drawn in by the visuals. And stuff. 

Where i’m at now.. I dont want to read another, even if its drawn well and .. the powers are SO powering or whatever. And i love to draw action scenes, they’re really hard and i still have so much more to go to learn about them. At best, I think im okay at them. But even when i work, i just get tired now so i cut them down a lot. Thats partly because i jsut dont have the time to draw fighting scenes. So i kind of feel embarrassed by a lot of them that ive made, i know I was lazy. Lazy in a way I’m not proud of the result, but im proud of the compromises to get the shit done. Which is the most important think in the end, to juggle your own expectations and limitations with the timeframe you have to get somewhere you need to go. I will still read more action/battle manga in the future.. But im in no rush. And im certain, for the most part, they arent going to teach me anything I don’t already know. They might entertain me and i might be like “..huh!” at a few things, but my expectation for them to do more than that is pretty low. I’m delighted when im wrong, but i cannot deny the apathy towards them is super deep. Togashi to me, is one those authors, that makes me really wake up and realize there’s still a lot of unexpected territory out there. 

He writes like an enthusiastic newbie, not a seasoned old timer that he is, who basically helped popularize the “tournament arc” and “dark edgy shonen” stuff with YYH. All his characters in HXH are geniuses, which is kind of a valid critique and can be annoying as hell too… Id say most readers dont really get how the hell nen works, yet somehow the story still functions so well in its character motivations/conflicts that it kinda doesn’t matter too much that.. It doesnt really make sense? We have to relearn what nen is basically every arc. Its not gonna stick. And yet im just so excited every time it updates and i really want to know what he wants to do with his new arc, if he is going to be able to do it. Nen to me is like a fake fantasy science that is tangible and real yet also you’re in a dream and you try to read the letters on a page, and you can read it but if you stare hard at it. The words are just blurs, or it doesn’t really connect. I like that there’s this malleable illusion that it functions in a way, that is concrete, but it isn’t really. But its enough that i can believe that for the characters, who are also not real, it is real for them. 

The fact that i can talk about “”””NeN””” like this to me is essentially why it becomes the perfect shonen to me because it takes itself so seriously, so genuinely, yet it also is nonsense but not in the way where its like.. Irony poisoned, “gotcha” twists? Im sick of all these subverting shonens that arent subverting anything. Or even just the attitude that is what makes a good shonen these days is to subvert, diminish, laugh, ect at shonen while completely stepping inside the same footprints again and again. So much manga just wants to be dragon ball, but dragon ball was good cuz it was just a fun, well drawn action manga that wasn’t trying to BE dragonball. It was just dragon ball. (maybe now its trying to be dragon ball, which is why i dont care about whatever sequel attempt we’re at now, but that’s another story.) Its fun to me that i dont know if Gon is gonna come back in Hxh. like, maybe he will and his powers will be restored ect.. But at the time of writing this, and for YEARS we just.. Have the main pals of the manga separated. Their friendship has changed. There’s a great shift in it. Gon met his dad, who sucks, but that kind of was his main quest. Sure, we have kurapika’s arc, and many other routes to go - but in a weird way HXH is done and it isn’t done at the same time. I’m just like, what are we going to do now. TOGASHI said flat earth real and was like, the other half of it is UNEXPLORED AND SO DARN DANGEROUS and theres SOM BIGGGGG DINOSAURS THERE and it just feels so gleefully like.. You’re on the swingset and some kid just keeps having to up the stakes but in the most kid-like way possible. For serious. But Togashi’s 58. But he’s right too, the dark continent IS so cool.. I just imagine leorio going there and getting so sick and shitting mutant diahrea and dying the SECOND he sets foot there and its awesome. That’s NOT what’s going to happen but im delighted at the opportunity.

This is the point where I’m writing something when i take a pause and wonder how the hell i got here. I have skimmed the above written text. Whatever point i think i was going to make, wasn’t made, but i expressed.. good feelings here. This is how i write. I typed all of that in about 15 minutes with no idea where it was gonna go. Part of the process now would be to go back, organize, edit, ect. To *TRY* to make it a little more comprehensible, as with all writing. Believe it or not i have gotten better at editing my own work. But the true nature of it all is still the same. And its the same in the way that i dont want, no matter how much i improve at my craft, i dont want to lose that enthusiasm i feel when i reach 58. I think that would be such a triumph, id be so lucky to be able to muster that energy. When I think of togashi, i think he has that. He has that real artistic spark that no amount of time/experience has ever diminished and that’s why i think he’s truly my personal favorite mangaka.  (maybe tezuka too)

[venrain]

ch 27 the keys you keep (BONUS author notes)

not doing too hot lately....still, chapter update! in ch 27, we reach the emotional climax of the fic. i will probably post the below author notes once the fic concludes (albeit with more polish than whatever ive word vomited below), so feel free to skip if you don't want your perception of the fic and its characters to be affected~ you can always come back and read later. A/N: thematically, this fic has made quite a departure from staring at the sky & likely the drarry genre because of how i chose to portray harry and draco. it was intentional; i wanted to explore a role reversal (which i think might be less palatable for some, im sorry lol!) where harry is the one who hits rock bottom due to his own mistakes and draco is the one who saves him. this was interesting to me because it meant i got to strip everything from harry's identity...i wanted to explore a world where harry's flaws lead to long-lasting, impactful, negative consequences. this meant the characters were a bit tormented for it, but it revealed a lot about who they are. i think in the process of the draft and within the story itself, harry is forced to make a choice about what kind of person he wants to be - if he can't outright be the hero, how can he still have agency? which actually somewhat undermines his very character from the books. not sure how i feel about this narrative choice but its become clear that its impossible for harry to not be the hero, no matter how low he gets. this is impressive to me (i say this as if im not the one writing the fic but honestly the characters drive themselves, i just tell the story). harry has incredibly strong principles that don't go away even if he loses everything he knows. which is a relief actually, knowing that even if harry cannot actively BE the hero, he still has the heart and courage of one. that his inner strength remains even while disconnected from his outer strength. his greatest change will be [spoilers! character arc spoilers!!] the acceptance of this dissonance -that he can both live by his principles and also choose himself.

if you read this post and haven't read my fic...go check it out! :)

[celestialorcas]

and heres my reasonings (SPOILERS for a lot of the show, ESPECIALLY 12) Its.....long Narrator/9 - ehhhh...this was just vibes The Hero/15 - Ok also a bit vibes cause we havent seen much of him yet but he seems like a good voice of reason, done some healing thanks to 14 and is ready to go in with an open mind The Skeptic/1 - I may be off here cause I've not seen much of 1 but at least early on he does seem to be a bit skeptical and cautious about thing, oh especially in The Daleks, I could go on but this is already gonna be long-

The Opportunist/14 - Just...Wild Blue Yonder, I don't know if i'm alone here but watching that episode i can see that being the opportunist, also in The Giggle, talking to the Toymaker about going off together, very compromisey

The Stubborn/10 - Do I need to explain?

The Contrarian/13 - Of all of the doctors (that ive watched a bunch) she seems more the type to go "AND THEN WE THROW IT OUT THE WINDOW AHA!" and later go "ahhh shit" (ok yea vibes again)

The Hunted/11 - The Strategic nature is ofc a constant across the doctors, but his performance in Time of Angels sells it to me, "There's always a way out" when cornered by the angels, whole episode was surviving

The Cold/Fugitive - Seems very cold and harsh to me, i mean just left Karvanista behind y'know, love her but she's cold

The Cheated/12 - OK HERE WE GO....

Throughout twelves entire run he's always got a constant of cheating, his life begins because 11 cheated the system with the help of the Time Lords and got more regenerations, this leaves him with a struggle of someone who waited for death but found themselves alive unexpectedly, leading him down a whole arc of wondering if hes a good man. Series 9 is where it really takes form though, Ashildr/Me, he remembers back to Pompeii and has a huge speech about how he saves people and even though he feels cheated by the universe for having her die despite saving the village, he doesnt care and makes her immortal, kind of out of spite "And if anyone happens to be listening, and you've got any kind of a problem with that, to hell with you!" (The Doctor, The Girl Who Died). He was cheated by the universe, so he cheats right back, and it perfectly leads onto the next example. Clara. Face The Raven, Clara dies (rip) by something kinda small, just a simple mistake, a lapse in judgment from Clara during her self destructive 'i wanna be like the doctor' rampage. He can't believe something so small would take away this person he deeply loves (they were in love yea im a 12/Clara shipper, sue me [although Twissy ontop]) He. Feels. Cheated. And if that wasnt enough, 12 finds out it was all a plot by the time lords to get information out of him (not clara dying specifically but if they hadnt done this, she would be alive), so how does he respond? SPENDS 4.5 BILLION YEARS PUNCHING A WALL, just so he doesnt give the people who took Clara away ANYTHING, he cheats his way out of the system, rocks up at their doorstep and becomes President of Gallifrey in record time, all to 'fix' their mistake and try to bring her back, but cheating doesnt always win, Clara can't stay alive after being extracted, and so they have to play a game of chance to see who will forget the other, and he loses...

Cut to series 10 now wooohoo (12 is my fav can yall tell-) Theres a few things throughout, like the monks and his eyesight but nothing too concrete for me to write about until, World Enough and Time, The Doctor Falls, and Twice Upon a Time.

WOAT/TDF: Also not a huuuge amount, but like, cheated by time itself and missing Bill by a tiny amount of time "Ten years you spent up there, chatting. You missed her by two hours" (The Master, The Doctor Falls), and then the ending with wanting Missy to stand with him, his friend (and lover......O.o????) who he'd been slowly teaching to be better, and she says no, seemingly recorrected by her past self (yea shes lying to get Simm out of the way but the doctor doesnt know that, nor does he get to know!!!!) End the battle, dead, thinking Missy left him. Cheated.

And then end of TDF and Twice Upon a Time: He's ready to give in, after over 2000 years (not counting the confession dial) this run has taken in out of him, it takes his old self being ready to face regeneration head on, the returning of his memories of Clara, a heart to heart with Bill and Nardole, and the TARDIS talking him down, before he considers regenerating again. This man was born from cheating, and constantly was met by it throughout his time, after all he went through finally allowing himself to move on and stay alive, letting go of the past, Doctor I let you go...

The Princess/River - COME ON!! Not even the fact that shes the love interest in some runs, but also just how intertwined the doctor and river are, and how River is moulded to be different people and do things she doesnt want to do by Madame Kovarian, manipulative, deceptive, loving, scared, smart, they are the same person i stg.

Ok...that was a lot, if anyone actually read this far, thank you! get help <3 and im curious if anyone has any other thoughts about who fits who.

Slay The Princess/Doctor Who

OK- So here me out, i had an idea and thought "hmm, wonder if i can match some of the doctors to the character and voices in slay the princess and i think i popped off (not all doctors are here, nor are all the voices cause some just dont fit) let me know what yall think, and what youd change!

[cheatdeathsarchive]

@o-rusted-heart​

“Oh Hot Rod,” Six called over her shoulder, taking a good look at the synth tarrying behind, “You alright back there? Need I should slow down, or is it just your joints actin’ up?”

[aimfor-theheart]

COIN TOSS– PART III

(18+ MINORS DNI)

PART I → PART II

PAIRINGS: Tomura Shigaraki x Reader, a little Shouta Aizawa x Reader

SUMMARY: As you fall asleep, you wonder faintly, almost sadly, if you’re the first thing he’s fully touched without losing in a long time.

You are Eraserhead’s troubled protege with a Quirk that cancels out others the moment they touch you. Tomura Shigaraki takes great interest in you.

(Enemies to lovers, a lot of angst, some hurt/comfort)

WARNINGS: Unhealthy/complicated relationships, age gap/power struggle, violence, gore, Tomura’s trauma specifically, (in later chapters) murder, smut, some blurred lines, rough sex, a smidge of a spit kink, a smidge of somnophilia (let me know if I’ve missed anything!)

If you are under the age of 18, you should not be reading or interacting with this!

↳ A playlist I made for this fic, if you're interested!

A/N: here is your final part to this series! again, thank you @randomrosewrites for beta-ing this!! and thank you guys so so much for your support and comments, they mean so so much to me!! i had a lot of trouble with this last part, there was a lot of scenes i cut out and alternative endings before i settled on what is there now and i'm not even fully happy with it still lol. i have a lot of Thoughts about this, so feel free to reach out if you want to know more or just chat!! i hope you guys enjoy this!!

Read on Ao3

***

Shouta apologizes to you soon after. You sheepishly get out your own apology, even though you’d planned on holding a grudge a little while longer.

Still, Shouta confides that he also had his doubts and worries as a young hero and that he shouldn’t have dismissed yours. He talks in a soft, low voice for you, sits beside you on the edge of the couch.

You hate it because it’s easier to be at odds with Shouta lately, easier for your conscience. He put distance between the two of you, but you forced it apart further– if only to keep him in the dark. Maybe if only to spare yourself all the lying, all the pretending you’d have to do.

He says, “You know, you can always come to me. Whenever you need me.”

You have to swallow hard around the lump in your throat.

“I’ll always be here for you, despite everything.” he promises gently, trying to catch your eyes. Your gaze ducks away, out of his line of site.

Still, you hug him, tuck your face into his shoulder so he can’t see the guilt written across your face. Your secrets will constrict around you if you’re not careful. You know Truth is tricky and likes to reveal itself with Time’s help.

Once more, you become acutely aware of the clock ticking away on your relationship with Tomura.

But this time, you also realize how much trouble you could get in. You realize that you’re endangering Shouta now, too. You swallow hard, try to keep all of that down inside of you, but you feel nauseous suddenly. Bloated with guilt.

You wonder if you would’ve confessed to him then, if you would’ve spilled your guts the way you’d wanted to, if it would’ve saved you the heartache of it all.

Instead, you’d just clung to him, little fingers twisting in the back of his shirt, praying that you’d never need to make good on his promise. Praying you’d never need to test how far he’d go for you.

(It’s far– you’ll realize, further than it ever should’ve been. And you’re all the worse for it.)

***

Tomura thinks one of the troubles with heroes is their willingness to sacrifice anything for their greater good. He doesn’t think there’s anything noble in it, there’s nothing glorious or good in leaving their friend behind because they think it will save more. Nothing honorable in facing down a threat you know you can’t win against alone. What good is their world if they’re willing to sacrifice all that’s good to them in the process?

Everytime he watches you patrol, go up against other villains, maybe yakuza members, throw yourself in harm’s way needlessly, he realizes the Hero Commission uses heroes’ bodies as collateral damage. You are nothing to them. Even to other heroes; your sacrifice is expected. He knows it isn’t wanted, per se, but it isn’t surprising.

It doesn’t help that you have a streak of recklessness in you. You are quick to danger, just as quick to flash teeth and stand your ground, to fight mercilessly.

You struggle against large, powerhouse types. He watches you nearly get crushed or strangled some nights. Your Quirk doesn’t do much for you when your opponent has strength and weight to defeat you with a singular blow.

Your mentor is often pulling you out of danger with his capture weapon, yanking you away from a massive swinging arm or a curled fist about to smash you into the ground. But if it came down to you or the greater good, he knows what your mentor and your heroes would pick.

He thinks it’s strangely unfair, for you to give them your loyalty over him. He’s more loyal to you, isn’t he? There is very, very little he wouldn’t destroy for you. They would sooner let you be destroyed for the sake of their world.

Destroying the hero society that is so careless with you now feels, in part, like his gift to you. Freedom from the world that only cared about you when they realized you could be useful–

There is a night you become not just useful to your heroes but imperative.

It starts with your sacrifice, just as you were trained to do. You shove a civilian out of the way of a villain’s Quirk– it’s something with tusks and teeth that jut out from his body, sharp and ready to gut you.

Your mentor is busy with this villain’s accomplice.

Tomura watches when he shouldn’t. He was supposed to meet with Kurogiri, but he knows you patrol in this area and when there’d been commotion, he couldn’t help but watch from the shadows.

He watches one of those tusks jut towards you, your hand reaching out in hopes of disengaging the Quirk. But it’s a physical Quirk, not something like Dabi’s fire or his disintegration. And he doesn’t know if this Quirk disengages with it’s user or if it’s just his body.

Tomura feels his heart drop, the trapdoor given way to all icy fear as he watches one of those tusks pierce into your stomach.

Tomura stops breathing.

You grab hold of it, a scream getting caught behind your clenched teeth. Your fingers are tight, near frantic as you press into them– hope with everything in you, in him, that his Quirk disengages with yours.

Your broken off scream is wretched from your struggling body when another tusk rushes to crash into your shoulder.

You’re the only thing between the civilians behind you and this villain.

Your other hand reaches for the tusk at your shoulder, digging fingers and nails into it desperately.

Your eyes are bright and feverish with the hot pink of your Quirk.

Tomura stutters towards you, before the villain let’s out a pained groan. Your teeth are bared, blood bubbling up in your mouth, but you’re still standing, vicious and undeterred.

The tusks begin to crack where you grip them, splintering apart–

A sudden fission of light through those crevices, same fire pink as your eyes, arcs throughout the villain. A flare of it that makes the villain almost see-through, the lines of his bones burned by light, an x-ray flash, as if you’d struck him with lightning for a moment.

Eraserhead shouts for you.

When the flare dies, there is a scream of pain and it’s not yours.

The tusks shatter, splinter apart into gleaming bone that flies through the air.

You’re left standing, blood oozing from your stomach, your shoulder, but still standing, your eyes crackling and too bright.

The villain, tuskless, crumples at your feet, smoking. A normal, Quirkless looking man.

Did you–?

“What happened?” he hears the distant voice of your mentor, laced with worry, whose already reaching to staunch blood, blood that seeps so dark out of you. Tomura’s stomach rolls, twists suddenly, but you’re still standing. You’re okay– you’re okay–

“I-I don’t know.” you manage, but you sway into your mentor’s arms and Tomura has to look away, jaw clenched tight, swallowing around the sudden lump in his throat.

He hears, “I need an ambulance– there’s a hero and villain down–”

But he’s already turning away, his mind churning, trying to keep the nauseousness from overcoming him. He feels suddenly furious, that it can’t be him at your side, that he has to watch, pushed to the outskirts. His fingers rush to scratch at his neck, his throat, desperate for relief from the pressure that has built in his chest.

He will try to call you– later, much later– the only time you’ll answer him. He is certain you will be okay with your healers and–

He thinks of the flare of light, the breaking of those tusks, the sudden heap of that man on the ground. If Tomura is correct about what you’d done, about what your Quirk actually is, the heroes won’t let you die now.

No, now you’re imperative. Now you’re trapped.

And the destruction of hero society will be his gift to you, an end to all the strings in place, the hands holding you both back.

***

“You destroyed his Quirk.”

“W-what?” you manage to get out, wobbly. You’re bandaged up, your torso and shoulder wrapped in fresh gauze after Recovery Girl healed the worst of your wounds. You’d been sleeping, hooked up to an IV to aid you in recovering. “That’s not possible, my Quirk only cancels–”

The doctor that has entered to give you this news shakes his head, “No, we’ve done scans, tests, the works on this guy. His Quirk is gone from his DNA. No trace of it.”

Shouta, who's sitting beside your hospital bed, speaks up, “Is it possible that it will eventually return?”

“I suppose, but we think it’s unlikely. It’s gone from him. There’s nothing left. She destroyed it cleanly. It’s like it was never there at all.” The doctor answers.

“I don’t understand–” you manage to get out, your head beginning to swim, giving a painful throb at your temples.

“It seems your Quirk isn’t so simple as cancelling out another’s. It’s likely that subduing other’s Quirks was just the surface of yours.”

“Is the man okay otherwise?” Shouta asks now, fidgeting in his seat when he senses your sudden distress. He leans towards your bed more and you have the sudden urge to latch onto him and not let go.

“Physically, yes. He’s fine.” the doctor answers, “However, mentally...he’s inconsolable at the moment. As you know, Quirks are incredibly– well, they’re a part of who we are, aren’t they?”

You swallow hard around the lump in your throat.

You think Shouta says something else, finishes speaking to the doctor for you. The moment the door clicks shut, the tears that you stubbornly had been holding back rush forward.

“I didn’t mean to do that,” you get out on just a hissed breath. “I-I didn’t know I could.”

Shouta shushes you gently, “It’s okay, this happens. Sometimes people don’t know the full extent of their Quirk.”

“I destroyed his Quirk, it’s not okay!” you respond, guilt thickening inside of you, dragging you down heavy, clogging your throat and chest. “I didn’t mean to do that– what if I do it again?”

“You were under distress,” he soothes, reaching out to brush a tear away from your cheek, “Really, you were fighting for your life.” And when he says it, something gets caught in his throat. Something hitches in yours, too.

His eyes rove over your face slowly, taking you in carefully, as if he hasn’t been by your side the entire time. As if it wasn’t him in the ambulance, or him kneeling beside your bed when Recovery Girl put you back together.

“I should’ve been there. It shouldn’t have happened.” Shouta admits, the confession filling the small space between you two.

You take him in now, too, tired and worried, his face finally displaying the fear and care he has for you. It softens out his features, turns his eyes gentle and dark.

You realize suddenly that you miss him. You miss quiet nights on his couch as he graded papers. You miss his clothes and his cats and the tenderness that blossomed in all your silent spaces to fill you both out.

You wonder if he misses you as bad as you’re realizing you miss him.

You think of him cooking for one again, eating alone, and it does something horrible to your heart– mangles it, twists it up horribly.

It’s made all the worse because you’re lying to him. And here he is, at your bedside.

“S’okay, Shouta,” you get out, reaching up to touch his cheek with a trembling hand. He leans into the touch, letting his eyes flutter shut for a moment. He savors your touch in a way that he hasn’t ever allowed himself to before.

But after a moment, he shakes his head fractionally, and he murmurs “I’m supposed to protect you.”

You don’t know why, but your bottom lip wobbles. Big, fat tears well up in your eyes, burn hot and put pressure on your already foggy head. You feel like you’re unraveling, your chest all swollen and tender, too, aching horribly.

You can’t decide if it’s because you’re lying and disobeying him so badly or because no one has ever bothered to say something like that to you, let alone mean it.

And you’re betraying him, your mind hisses.

When he notices, his face falls, his thumb moving to try and brush away your tears. “Don’t cry,” he hushes, “I’m sorry, don’t cry.”

You lean into his large and warm palm at your cheek, let him cradle and coddle you.

“I-I’m sorry–” you barely manage to choke out, for reasons far beyond him.

“No,” he coos, “No, sweetheart, don’t apologize.”

You choke on a sob and he grows more worried, leans over you more, brings his other hand up to stroke at your hairline, too.

He says your name softly, trying to soothe you, “Why are you crying, huh? What are you apologizing for?”

You shake your head, more tears loosening, your small fingers twisting themselves in the shoulders of his shirt. You think you’ll drown in all this guilt, it’ll fill your lungs with pressure, choke you out slowly as you struggle and thrash.

But for now, all you get out is a warbled, slurred, “Please don’t hate me–”

Shouta moves then, shifts to sit beside you on the bed. He’s painfully careful with you as he slides strong and sturdy arms beneath you, lifts you slightly into his lap, mindful of your IV, and cradles you to him.

You bury your face into his chest and try to hold back another sob as he murmurs, “Why would I hate you? I could never hate you.”

He strokes your hair, he hushes your cries, rocking you gently. Rocking you until you can stop crying, until you’re exhausted and aching and tender.

“I’ll help you with your Quirk,” he promises gently, holding you tight to him, “We’ll be okay, huh?” he murmurs, and it just forces another cry out of you, swallowed up by his chest that he cradles you to, “We’ll be okay, sweetheart.”

It’s the we’ll in that sentence that makes you squeeze him tighter. You wonder how willing he’d be to use it if he knew where you were every other night, who you filled your time with.

If he knew who called you late that night, when you’re alone in your room, aching and sore and alone. If he knew who you answered to, your voice hushed in the inky darkness;

“Tomura,” you exhale his name through the receiver.

“I saw what happened,” he answers instead, “I saw what happened today.”

You can feel the sudden jump of your heart, your nerves wringing themselves tight. “Oh,” you respond lamely.

To your surprise, Tomura rasps, “Are you okay?”

You don’t know why, but you cradle the phone to your cheek tighter, your eyes slipping shut for a moment.

“Yeah, I’m alright. Sore and tired, but I’m okay.”

“Good,” he responds, his voice softer than it usually is, just a breath when he asks, “What happened? What’d you do to him?”

You’re silent for a long moment. You can’t decide if you should tell him or not. You think of Shouta earlier and his voice like a hearth and the tender way he holds you, you think of his we’ll be okay.

But you can hear Tomura’s soft breath on the other line. You can see Ryuji in the patch of sun that splays out against the corner of the couch in the evenings. You think of him curled tight around you, like you’re the last good thing left on earth.

“I destroyed his Quirk,” you say, voice barely above a whisper, “With mine.”

“That’s new,” Tomura almost hums, but it nearly seems like he was expecting the answer.

“I didn’t mean to.”

A quiet snort from him, “What are you trying to prove to me?” he asks, “I’m not your heroes. I won’t look at you differently whether you intended to or not.”

The thought strikes like an arrow between the ribs, sharp, sudden. It stings, when you realize it’s truth. How hard have you tried to prove yourself to Shouta? How hard are you trying to prove your goodness to yourself?

“You could’ve killed him,” Tomura says, “And I wouldn’t think differently.”

You wince for some reason when he says that, “Don’t–”

“What would your heroes think then?”

“Tomura–” you snap, voice gaining some bite, a warning.

But for some reason he presses, “How badly does the Hero Commission want you now? With a Quirk like that?”

“What?” you ask, suddenly shocked.

“Don’t be naive,” Tomura says and there’s an edge to his voice. He sucks in a breath, “That’s a big Quirk. Destroying someone else’s? You don’t think they’ll be interested in that?”

You feel the pressure of tears work their way through your head, your throat. Your fingers clutch so hard at the phone that your knuckles are turning white and before you can think, you hiss out, “And how interested are you now?”

“As interested as I was before.” he returns, sharp and quick, and then with a vitriol he hasn’t directed at you in months, he says, “Don’t compare me to them.”

You bare your teeth, tears stinging sharp at your eyes, prepared to fight back when he hisses, “Mark my words, they won’t let you go now.”

“Stop it,” you spit, “You don’t know anything–”

And he laughs at that, caustic, harsh, a grating sound. Villainous. It slithers through the phone, down your spine. Your stomach twists. You hate this– your head is throbbing. You don’t want to fight. You want to stop crying, God, you wish you could just stop crying–

“I’ll be here when you realize it.” he says and there is too much heat behind his voice, simmering and venomous. You can feel the end of this conversation, the bitter goodbye in his words.

Your bottom lip trembles, and for some foolish, lovesick reason, you gasp, “Wait– don’t hang up–”

But you hear the click of the other line and he’s fallen away from you, leaving you with an empty, static silence that buzzes around in your head. In your heart.

You throw your phone across the room. You hear it clatter somewhere in the darkness. You turn to press your face into your pillow and let out a sudden, childish scream. It tears at your throat, before tapering off into this pathetic little sob.

It’s worse because he ends up being right.

And it’s ironic because it’s another string tethering you to him, the ability to destroy something with a touch.

It’s like some part of him knew all along, or maybe some part of you.

You scream into your pillow again, louder, kicking at your covers before it breaks off into a bitter cry.

***

The Hero Commission is very interested in the new discovery of your Quirk. They run tests and scans on you, over and over again, trying to find something interesting. They want you to practice with it, but there’s no way for you to practice without potentially destroying other people’s Quirks.

They offer up criminals to practice on.

It turns your stomach.

“I don’t want to do this,” you tell Shouta one night after another long series of poking and prodding at you by white coats from the Hero Commission.

Shouta is silent for a moment, “No one is making you.”

“But they want me to. It’s expected of me.” you tell him.

“They want to make sure you can control it,” Shouta answers, “And the only way to do that is practice, unfortunately.”

Or do they just want to be sure they can control me? The question bubbles up unbridled inside of you. It sounds suspiciously like Tomura’s voice.

You frown, “I can control it. I don’t go around destroying Quirks with every touch. I just mute Quirks still.”

“Under distress, too? Can you summon it completely calmly? Or stop it in an instant?” Shouta asks.

“I don’t know– no, I don’t think so.”

“Then you can’t fully control it.” he answers, which makes you ball your hands into fists.

“It doesn’t feel right taking people’s Quirks– practice or not. And it’s controlled enough.” you respond, gaining a sudden edge to your voice.

“Then don’t do it.” Shouta responds, almost impassively.

You try not to grow upset or so frustrated that you say something you might regret. You swallow tightly. “Will you be disappointed? If I don’t?”

Shouta tilts his head and in the quietness you fear he will be, but he eventually answers, “No. You’re right; you have it controlled enough that it doesn’t hinder your day-to-day life.”

You let go of a breath you hadn’t realized you were holding.

“Besides, if you’re under that amount of distress again, it probably flares for a good reason. It’ll probably save you if you ever need it again.” Shouta then says, “And if what they want you to do doesn’t feel right to you, then you shouldn’t do it.”

You stare up at him, a little surprised but–

Relief sweeps through you, sweet and cool.

“I trust your instincts,” Shouta says, the curl of his lips small but promising, as he reaches out to nudge your chin with his knuckle.

The guilt blindsides you later, so hard that it makes you lock yourself in your bathroom and keep a sob trapped behind the palm of your hands.

But for now, you smile up at him, the curve of your smirk playful, something he hasn’t seen from you in what feels like forever that you give to him again freely.

“Can I get that one in writing?” you ask and his answering laugh strikes you so suddenly it almost makes you dizzy and it’s like hearing the notes to one of your favorite songs that you hadn’t heard in a long time.

Like you couldn’t ever imagine forgetting it, now that you’ve heard it again.

***

Tomura wonders what it will take to make you leave your heroes.

Specifically, your precious mentor.

When he sees you again, you look like you did before nearly bleeding out in front of him and destroying the Quirk of another. It’s almost as if it never happened at all, almost like your argument never happened at all, either. In this little apartment where the rest of the world doesn’t exist, just you and him and sometimes Ryuji.

Except when he lifts your shirt there is a twisted, ugly scar from where they patched you up. Another at your shoulder. He doesn’t kiss it or run his fingers over it gently, he doesn’t make any sort of comment. He just thumbs at your waist and glares at it, wishes he could make it disappear like the villain who gave it to you.

(Not because he finds it ugly or unacceptable, only that it is now a permanent reminder of what he’d seen. Only that it reminds him that you are not guaranteed to him, not in life nor in loyalty).

You’re a little hesitant with him now. You feel more fragile to him now, too, like you’re holding something back, waiting for everything to finally fall.

The inevitable crash and break.

Tomura is gentler with you– he knows he needs to play his cards right now. It’s crucial. Something is building, even for the League of Villains. There’s more on the horizons.

And despite everything, he wants you there, when the sun is bloody and falling on a dismembered, new world.

He thinks he shouldn’t have pushed you now, when you’re so delicate, barely stitched together. But he had– he’d started another argument. He’d tried to convince you of the heroes’ lack of care for you, their greediness upon discovering the depth of your Quirk.

You throw it back in his face; isn’t that what All For One does to him? Isn’t that what he does for the League of Villains? Aren’t they all just pawns for him? Is that what he wants of you?

He seethes, digging into the skin of his neck desperately. You don’t stop him. He can feel the facade of this little apartment beginning to crumble, fall away into dust and he–

He knows he destroys everything he touches.

But you were supposed to be different.

(You are, his mind hisses, you are, you are, and that’s the worst part of it all).

You storm out that night. You leave him, no doubt to return to your precious mentor.

He thinks about destroying the entire apartment complex. He could now– he knows what’s coming. He won’t be staying here any longer. He has plans, so many plans.

You come back to him a week later, though. You’re bound to him in some way, returning again and again when you know you shouldn’t.

The make-up part is nice, with him buried so deep inside you that he’s trying to turn your stomach. Make you sick with him, the way he is with you. Your gasping moans, with the arch of your body far too pretty for hands like his.

And still, you lay on his chest afterwards, you let him run his fingers over the planes of your shoulders, the line of your pretty neck. He drags his knuckles against your soft skin, enamored with the feeling, with the way you soothe the haunting, sunken part of him. His Quirk submits to yours easily, dimmed inside of him. Maybe he should be frightened of your new potential.

But you’ve never been frightened of him, so he’s not of you, either.

You’re very bold, though, he thinks, for you to say, “Your parents were cruel.” After the argument you both had last time.

He tenses beneath you, grits his teeth. He’d thought you’d both learned your lesson, getting too personal in a place as sacred as here.

“You don’t know anything,” he says and it’s just a breath. Surprisingly toothless. He’d said it to you last time, in your argument. You’d said it to him before that. It feels almost ironic now.

You shake your head against his chest, your nose nudging into him, lips soft against his skin. You remain calm. “I know your name is Tomura. They were very cruel to give you that name.”

You say this as if it’s a fact, something as simple as the sky being blue. But it’s dark out now and the stars are dull, the moon just a scythe in the sky, caught in the window’s glare.

“What?” he demands quietly.

At least you have the guts to tilt your head up to find his eyes now. You look up at him through dark lashes.

“Your name–” you say again, gentle, “It means ‘to mourn.’ I don’t know why anyone would give their child such a sad name.”

He knows what his name means.

But this takes him by surprise, for some reason. Only because it’s not the name his parents gave him. You don’t know that, though. You don’t know anything about him, technically. He has the urge to tell you suddenly, that’s not my name.

He doesn’t, though. He stays silent. It’s his name now. And he likes the way you say it, the syllabus softened by whatever it is you feel for him.

(He won’t give it a name, he’s realizing now that names can be very powerful.)

Your fingers are gentle on him, rubbing strange patterns against a scar near his collar bone.

You have rendered him silent.

And eventually, as you begin to drift off to sleep, you murmur, “You were just a kid, you know?”

He doesn’t really know what you’re getting at, only that it does something strange to the tempo of his heart. He swallows hard, tries to keep his fingers gentle on you. Your breathing has slowed, the rise and fall of your back measured and even, but his has gotten tight.

He squeezes you against him, glaring at nothing, at darkness.

You were just a kid, you know?

It’s this part of you, the one that sees the human in him, that makes him think maybe you will be at his side until the bitter end of it all. Your compassion, the sympathy you have for the child he was, for the person he somehow became. Your unending ability to understand the worst of people.

He doesn’t dwell on the child he was, just has buried it in the cemetery of his chest– a part of him that only you have been able to reach through Quirk, through something too massive to name. You’ve soothed it, put it to rest like the dead, lit your incense in the spaces of his heart. Said your prayers along the notches of his ribs. Tried to appease that restless spirit that possesses him.

He doesn’t know why, but he starts to shake. He can hardly breathe.

And in the dark, when he thinks you’re asleep, and his secrets will be lost to your dreams, he admits for the first time in years what has always trembled inside him. He speaks the tragedy that has made a home of his body, the mourning that he was given name to;

“I wanted to be a hero– when I was a kid.”

***

Tomura thinks, for a moment, when you’re splattered in blood, that this will be your great turning point.

Your fall, the tearing and burning of your wings from your holy back. It will hurt, but he will be there on the ground with you, a hand extended to guide you. He will be there to cradle you into his chest, to hold you close when your world falls apart.

The way All For One was there for him.

The beginning of the end starts with you being a hero.

But you save the wrong person.

Toga’s been following him around as she does every so often, dogging in his shadow, skipping along beside him. You’ve become accustomed to her, too. She likes having you around. Something about not being the only girl. You’re kind to her in the same way he thinks you probably wanted kindness at her age.

The sky is mottled purple, bruised as the day sets into night. The sun looks like an open wound, violent and red.

When he thinks about it, he figures he should’ve been more careful, but then there’s a petty villain Tomura knows vaguely, someone they’ve clashed with before, who he’s pretty sure Dabi and Toga pissed off. He spots Toga first. Your back is turned to him.

“Uh oh,” Toga says, peering over your shoulder.

Tomura grabs your wrist, “Hide,” he hisses, and when you try to peer over your shoulder at what Toga is looking at, he forces you back around so the villain doesn’t see your face.

He doesn’t know why he saves you like that. Only that he doesn’t want you to get in trouble, doesn’t want you taken from him like that. He is not an idiot; if the villain recognizes you, if it somehow got around that you were seen with two of the most notorious villains, the Hero Commission would eat you alive.

And here’s the part that really gets him. You listen to him. You trust him.

You dart away, swift and fast like a fox, disappearing into the shadows the way you were trained to.

“Hey!” the villain shouts and he’s large, Tomura remembers now.

Stupid, too, he thinks, as he barrels towards them.

The glint of Toga’s knife in the sun makes him pause.

Better to not engage, Tomura thinks, not yet, not now. Too much on the horizon for something foolish to happen tonight. The apartment isn’t far from here. He hopes you’ll retreat there. He just needs to get Toga away safely now.

“Oh, I’ve missed fighting!” she sings.

“No,” Tomura rasps, “Don’t engage. We need to go, too.”

She whines a long and drawn out, “Why?” just as the hulking mass of a person swings at her. She ducks away easily, quickly.

However, then his Quirk bursts to life and it’s far worse than what Tomura had hoped for. He doubles in size, his arms in particular growing longer, and fill out with what seems to be rushing water.

“Dammit, Toga,” he hisses, shoving her out of the way as the villain blasts a large cannon of water at her.

Tomura takes the hit hard, black coloring his vision when he hits the ground.

In truth, he thinks he is out for at least a full minute, because when he’s come to, you’re shouting at the villain. You’re tugging desperately at his massive shoulder, clawing and screaming. You’ve canceled his Quirk, but he’s still too big, even without it.

Toga is pinned beneath that arm, choking and spluttering, drenched. It actually looks like she’s choking on water. She can’t even scream, too garbled, too water-logged. She looks like a doll, she looks horribly small. Her face is turning a deep shade of red as she struggles for breath. Her little hands claw at his wrist, too.

Tomura tries to stand, his vision swimming, swaying so bad that for a minute everything goes sideways.

Fuck, he curses, just as he watches you get tossed away by that villain’s other hand like you’re nothing. His Quirk suddenly ripples back to life and he blasts Toga with another bout of water, plastering her to the gravel, the onslaught of it unending.

You’re up in an instant, throwing yourself onto his neck, trying to wrench him off. His Quirk disengages again, and Toga heaves and gasps for breath, coughing up large amounts of water.

“You’re going to kill her!” Tomura finally can catch onto what you’re saying, what you’re desperately screaming. His ears ring.

You get thrown off again. More water. Toga is being blasted so hard that she can’t even choke or struggle.

Tomura thinks you’re trying to rationalize with them, you’re trying to explain you’re a hero. And to disengage. Stop, please stop, please stop–

He’s not listening, though, of course.

And he’s too big. You tried knocking him out, tried putting him to sleep with the grip of your elbow. You’re trying everything, even to crush his Quirk beneath yours. Tomura catches the flutters of pink, your inability to summon your destruction when you need it.

It wouldn’t matter anyways, not with how big he is. You struggle against powerhouses.

Tomura stumbles.

But you’ve always been gritty and sharp and determined, if nothing else. You have always fought so desperately for your life, never mind law or honor or glory.

He thinks he catches the glint of your knife, the desperate threat to let her go, leave her alone!

The villain grabs you with a massive hand around the throat, lifts you clear off the ground.

Toga has gone slack against the pavement in a puddle of water, face colored a strange shade of red and blue. A little like the way the sky blurs before his eyes.

You kick and thrash, a horrible growl wretched from your throat. You don’t think, just lash out.

And then there is blood. So much blood. It’s all over Toga now, seeping into the water– did she cut him? She managed to cut his throat? Because that’s where the blood is pouring out of–

Tomura sways.

You’re dropped.

You stumble away.

Your blade– the one you used to threaten him with, is bloody.

“Fuck!” you shout, raw and so sudden that it jars him a little. He forces himself over to the scene. So much blood. His stomach rolls.

He looks at you, your shell-shocked face. You’re looking at the knife, at the blood. At Toga, who's still not moving.

He goes to her first, tries to shake her a little, fingers held away from her shoulders carefully. For a moment, she doesn’t respond, limp and lifeless and something inside of him threatens to overwhelm him. No, no–

Her eyes flutter, though, and she wheezes for a breath, suddenly turning over to vomit up far too much water.

“I-Is she-?” your voice, so small and lost, cuts through his thoughts.

He looks at you again, blood splattered and terror caught in your eyes. Pale and slack faced and half-mad. You look like a ghost, standing there in the aftermath, in your gruesomeness.

“She’s fine,” he says, just as she wretches up more water, “You saved her.”

Toga falls limp again. He checks frantically for a pulse at her wrist with two careful fingers. Still there. She needs a doctor, though. He stands to face you.

You make a noise, high pitched, trembling. You cover your mouth to keep it in, it’s something like a sob, an animalistic noise.

“I didn’t mean to– I didn’t, I didn’t– she was just–” you’re trying to get out, almost doubled over now.

Tomura doesn’t bother to check if you killed the villain. He knows the dead when he sees it. And he won’t lie to you now, he won’t soften this blow or shield you from it.

But he also knows what he needs to do.

You keel over, about to scream more and– no, that won’t do you any good.

He grabs for you, hauls you back up and you’re shaking so hard that he fears you’re going to split apart. You’re about to lose it.

“Listen to me,” Tomura hisses and you choke on a cry. He shakes you a little, tries to force you to look at him and not the body behind him. Your eyes, feverish pink, meet the wildfire of his, “Listen to me.”

“I– I don’t–”

“Sshh,” Tomura hisses, palm going to your cheek, a little too rough, forcing you to look at only him. “Sshh, listen.”

You try to swallow and he continues, “You’re going to call reinforcements. You’re going to tell them there’s a villain down.”

“W-what?! I’m going to– they’re going to–”

He shakes you again, harder, your teeth click together with the force of it. He needs you to understand this– needs you to hear this if he wants to keep you safe and out of jail.

“Tell them I decayed him. And before that, tell them Toga cut him, and it splattered onto you. Say you heard commotion and like the good hero you are, you ran to help.”

“Tomura–” you sob.

“Do you understand me?” he snaps instead, grabbing you harder, his fingers curling against your cheek to press desperately into you. “Answer me!”

“Yes–” you gasp, wide-eyed and terrified. “Yes!”

“Good,” he hushes, wiping blood from your cheek, “Good. You saved her,” he tells you, “You saved her, do you understand?”

You nod, jerky, and he continues, hand petting your cheek, messily pushing your hair from your face, “You did everything right.”

Your breathing is still labored, but you’re quieting with the praise. When he thinks you can handle it, he breathes, “Now, are you ready? I’m going to decay him and the knife, then I’m going to leave with Toga. You’re going to call for help.”

You glance at the villain, lying lifeless, in his own pool of blood and Tomura ducks his head to force you to look at him. “Okay?” he asks, “Answer me.”

“Okay,” you exhale slowly.

“Good,” he murmurs, “Good. Now give me the knife.”

You press it, trembling, into his hands. It’s slick with blood. He forces himself to stay calm for you.

He steps away, let’s go of you. The knife turns to dust.

“Look away,” he commands then, his voice a rasp.

And you– you listen to him. You trust him. You turn away. He sets his hands on the villain. And just like that, his body breaks down, gore at first, until it is nothing but dust. It blows away easily.

And then he goes to Toga and he lifts her carefully. She’s like a ragdoll in his arms, soaked and cold. He’s certain to keep his hands away from her, fingers lifted away, but she lolls into his chest.

When you turn around, Tomura says, “Thank you for saving her.” And he means it.

You swallow hard. You look to where the villain was. He’s gone now.

“Now call your heroes, just like I said.”

You nod, eyes filling up with tears. That’s fine. They’ll have more sympathy for you, for what you’ve witnessed. They’ll believe you more. Your mentor will protect you, with those tears in your eyes.

Tomura’s eyes burn crimson as you pull out your phone, “Do what I said and you’ll be okay.”

And you do, just like that. You lift the phone to your ear. That semblance of calm that he had coaxed you into shatters the moment someone picks up on the other end.

Your voice goes high, near hysterical, “T-There’s a villain down–”

He turns away from you as you stutter and cry into the phone about what happened. You give them the lie he told you to feed them. You make Tomura out to be the villain, you make yourself out to be innocent. He holds Toga close to him.

He tries not to smile, a dizzy slip of a thing, as you do exactly as he told you to– as you lie and lie and lie through your teeth.

Toga stirs in his arms. Police sirens are heard in the distance. An ambulance for a pile of dust. The sun sets, darkness blanketing the world, shielding it from the light.

And as he stalks away, with Toga alive and in his arms, he thinks maybe he’ll make a villain of you yet.

***

The police believe you. It’s hard not to, when there is so little evidence otherwise. Tomura destroyed it all for you. It’s hard not to believe you, when you’re crying and terrified, as you should be for witnessing the death of another person at the hands of Himiko Toga and Shigaraki Tomura.

Shouta, however, is not as easily convinced.

Not after so many strange occurrences with Tomura.

When he brings you back to his apartment, when the door is shut tight, and you still stand in bloodied clothes with your teeth chattering, Shouta eyes you warily.

You want to shower, burn yourself beneath the spray of water, like you could wash away what you’d done. You squeeze your eyes shut.

You saved her.

You swallow down the lump in your throat.

“What really happened?” Shouta asks, almost tentatively, standing in the middle of his living room.

You turn and you don’t– you don’t know how you should react. Should you be offended that he’d doubt you? React in outrage after all that’s happened? Should you act confused? Play dumb?

You can’t stomach any of it. Not when someone’s dead at your hands. But someone is alive because of them, too.

Your eyes well up with fresh tears.

“I-I told you.” you choke out.

Shouta’s jaw ticks. He draws in a slow breath, “Something isn’t adding up. You have had more contact with Shigaraki Tomura than anyone has been able to have.”

Your stomach drops. Your tears fall harder.

“What’s going on?” he asks and the distance between you two feels massive. It feels continental in the small space of his living room. He seems suspicious.

The lie comes out on a sob, “I–I think he’s been stalking me.”

“What?” Shouta asks and any uncertainty he has in you evaporates as he watches your face crumple.

You let your guilt overwhelm you into choking on another cry, cover your mouth as if you could catch it in the palm of your hand. Shouta doesn’t know the truth of it, so he believes it.

He crosses that distance like it’s nothing now. He stands tall in front of you, reaches to try and brush tears away from your cheek.

“I don’t know–” you gasp, filling out your lie, “I think he's interested in me because of my Quirk. Because he can’t– I can’t decay, when he touches me.”

Shouta tips your face up towards his but you can’t look him in the eyes, let your eyes squeeze shut when he asks, “Why wouldn’t you tell me that?”

“I don’t know–” you choke out, “I wasn’t sure.”

“Did something else happen?” Shouta prods gently and you grit your teeth to keep back another sob. More tears cut tracks down your face, right into Shouta’s waiting, gentle hands.

There is a long moment where you think of giving everything up. You think of telling Shouta everything, if only to lift the weight that has settled onto your chest. Surely, it will crush through your sternum, surely your heart will burst with it’s pressure.

“It’s my fault,” you whisper, “It’s my fault he’s dead.”

“No,” Shouta says then, gentle but firm, shaking his head, “I know it may feel like it–”

“He was going to kill her.”

This stops Shouta. He goes very, very still.

“What?” he rasps softly.

“He was drowning her– he wouldn’t stop. I tried to get him to stop and he started choking me–and she saved me by–” It’s a fabrication to save yourself. That’s not how it went! Your mind screeches, that’s not how it went– you saved her by killing–

Toga was turning blue, she didn’t help you. She didn’t save you. She was drowning. She didn’t kill him. You did.

“You saved Toga Himiko, a notorious villain, one of the most wanted–”

“He was killing her!” you hiss, “She was turning blue–”

“She’s a powerful villain, too, you should’ve tried–”

Something inside of you fractures, bursts apart the way glass does when thrown against a wall. You think there are a million, shining pieces of you now lying on the floor.

“She’s Shinsou’s age!” you snap, hoping one of your shards cuts him, suddenly half-furious through all your tears. “She’s Shinsou’s age, do you know that?!”

You break now, wrenching away from Shouta’s touch and rushing to double over the sink to dry heave again, body squeezing painfully. You threw up everything in your stomach already at the scene, when recounting the story to the police, to Shouta. You claw at your stomach, trying to stop it, to keep it all down inside of you. You curl your fingers into the divots of your ribs, try to force them to give you air, but they won’t– betrayers that they are, they squeeze and squeeze until there’s nothing of you left.

Your knees buckle, head spinning when you turn away from the sink and crumple into a heap on the floor,“She’s just a kid,” you wail desperately, “That’s all I saw when I tried– when I–”

Your head bows forward, body folded in on itself, forehead digging into the ground as you cry, “I didn’t mean for him to die, I didn’t mean it– I didn’t, I swear I didn’t mean for it to happen.”

Shouta moves again finally, drops to his knees down beside you. He cradles your skull in his large hand, pushes your head into the crook of his neck to hold you, “It’s alright,” he breathes, curling his other arm tight around you, “It’s not your fault,” he hushes, “It’s not your fault.” You sob hard into his chest, fingernails digging into him, clawing at his biceps, “Sshh, it’s okay. It’s okay.”

And he holds you, buries you in the bulk of him, like he always has when you need him. Your constant, the love you never once deserved. Especially not now. Especially not here, with blood stained on your clothes, sunk to the floor with nothing but the anchor of your guilt.

He strokes your hairline, gentle, cooing softly to try and calm you.

He murmurs, his voice so deep and soft and earnest, “You’re a good hero.” When you make a strangled noise against him, he presses on, “You are. You’re compassionate. You see everyone’s humanity and that’s a good thing.”

He hushes more of your cries, fingers gentle in your hair, and you try not to throw up again when he tells you;

“You’re a good hero, I promise. I promise.”

The beginning of the end starts with you being a hero for a villain.

***

The next time you see Tomura, he questions you about what happened, if you pulled it off. You tell him you managed it, somehow. You don’t tell him anything else. You don’t tell him you haven’t been sleeping, that you can hardly keep food down. You don’t tell him that you take too many showers, trying to wash away the phantom blood.

You remember when it was Tomura’s blood on you, so long ago. A beginning that now seems so hazy. You hadn’t minded blood, then. You had never been particularly squeamish but now–

Now it could make you sick on your best days, downright hysterical on your worst.

Your guilt tears chunks out of you, bites down and shakes the meaty, soft parts of you until you’re all torn up.

It is easier to be with Tomura than Shouta now.

We have more in common, you think, and it makes you want to laugh, empty and wobbly.

You look in mirrors and hardly recognize yourself, wonder if this is really your body. If this is really your life, or if it’s someone else’s. Maybe you are possessed, maybe that explains how you got here.

You don’t tell him any of this. You stay silent.

And that’s okay because Tomura seems strangely quiet after that, pulling you to lay on his chest. He doesn’t let you put the TV on. You can tell he needs to think. You let your eyes drift close as he runs his fingers through your hair with a surprising amount of gentleness, compared to his usual petting.

But eventually he says, so soft that you fear you almost imagined it, “A yakuza head visited the League recently.”

Your eyes flutter open and in your surprise, you sit up a little, looking down at him. “Tomura–” you start, almost a warning.

He knows he isn’t supposed to talk like this here, in this little slice of another world.

But he continues anyways, his voice just a rough scratch, “He killed Magne.” And then, “And Compress no longer has an arm.”

Now you really pull away to look at him. You can feel your eyes widen out, your shock, then the stomach-turning sadness. His face is unreadable, but his jaw is tight. His eyes are simmering, so red, even in the low light like this.

“It was a set up.” he hisses, “I failed them.”

He doesn’t cry, but you can feel the slightest tremble in his body.

You hurt for him, you realize, your heart falling into the pit of your stomach. Those are two of his closest, some of his inner circle.

He looks shaken.

He looks young, with the weight of his world on his shoulders, with the crown of thorns placed on his head. Heir to a monstrous throne. All For One’s successor, boy prince to inherit an underground empire.

You just see him, though, just Tomura who's twenty, who likes sour candy and video games.

He swallows hard. He looks angry and hurt.

“Nobody mourns us,” he says eventually, looking away from you, somewhere in the darkness of the apartment.

Except you, you want to say, with a name like Tomura.

You lurch forward, throwing your arms around his neck, hugging him tight to you. “I’m sorry,” you tell him, soft, the way Shouta speaks to you, “I’m sorry.”

And then you think, I’d mourn you, and you squeeze him tighter, I’d mourn you, oh God, I’d mourn you–

He doesn’t hug you back, but you can feel the shaky breath he exhales, and the way his fingers tighten in the fabric of your shirt.

***

Tomura thinks it should be you, at his side, when he takes Overhaul’s arm. You are everything Overhaul wants. Your Quirk is what he has tried to bottle.

Tomura thinks you could’ve been useful, to switch off his Quirk, to destroy it in an incredible twist of irony. It would’ve been the ultimate power move, to have you at his side by the end of all of this.

But you’re not there, no, not with him.

You’re with your heroes, Toga had told him.

It shouldn’t, but it feels like a betrayal. It stings hard and sharp inside of him, like a livid bee that jabs at his heart.

He seethes about it. Hadn’t he done everything right with you? He’d played this game slow, knew that the rewards would be worth it.

You’re still walking away from him, though. You’re still not his.

And you’ve still got one of his ribs, left a gaping wound inside of him.

He wants it back. He wants it back.

***

Eri looks up at you with watery, red eyes when you first introduce yourself to her. You crouch to be on her level. She has silver hair. She’s timid, wobbly bottom lip and flushed cheeks.

You almost start crying, looking at her now. You wonder if this is what Tomura was like as a child– small and terrified of his Quirk, round red eyes pleading with the world. All you see in her is every other forgotten child.

“Hi, Eri,” you hush, half for her, half because you’re scared your voice might break.

“H-hello,” she trembles.

You try to keep your smile in place, but it’s a weak, sad thing.

Still, you say, “I’d like to be your friend, if you’ll have me.” And you extend your hand to her, palm up and offering. “I have a Quirk like Mr. Aizawa’s.” you tell her gently, “If you touch me while using your Quirk, it’ll stop.”

She brightens at this, not smiling but, surprised, “Really?” she asks, just a breath.

You nod, swallowing around the lump in your throat, “Really.”

She takes your hand then, eager, tightening with her small fingers, despite her Quirk still being off.

Then she looks up into your face and offers you a tentative smile. Small, just the corner of her lips lifting up.

“I’d like to be your friend, too.” she murmurs bashfully and you close your hand around hers. It’s small, almost fragile. She’s all bandaged up, arms wrapped in gauze.

You look at Eri and her red eyes and silver hair and see a coin toss, see it up in the air, spinning and spinning, catching in the light. A twist of fate like the flip of a coin.

But you think you could call it now, with her hand in yours, and the heroes that hover protectively around her.

***

There is a morning shared in blush light that isn’t the ending but feels like it could be one. In truth, you’d prefer to remember this as the ending, more of a whimper and less of a bang. The night before had been one of your better ones, too– you’d only woken once with a nightmare. Tomura had already been awake and he’d soothed you with a careful hand that drew patterns across the bare skin of your back.

That night, that morning, was gentle in the wake of all that violence, love taken root, finally bursting through your veins to make a mess of your insides.

Dawn is too mellow a place for the two of you.

(You have come to the conclusion that Tomura looks best in dusk, saturated, sharp and rich in color. Bold and vivid. You didn’t know it, but he thought the same of you.)

You never told him you loved him.

You think about that a lot, wonder if it would’ve made a difference in anything. You wonder who was the last person to tell him that, if anyone at all.

He’s still half hoping that you’ll follow him, but you think he knows he’s losing you. You are not content in fuming misery, cannot stomach to leave the mentor that has loved and cared for you with such perseverance and softness. You cannot stomach to turn away from the boy with violet hair, or now the girl that reminds you of him.

You wish you could keep him, too, despite it all, but all you see in the future with him is rubble.

In the least, you’ve always had a sense of preservations, survivor that you are, scavenger that you are. You know when to move on, can’t linger too much longer now or you won’t live through it.

You sleep better with Tomura, though, and that’s the cruel part. You wake with less nightmares. You sleep more soundly, wound up in him, so tight that you two might just grow together. Palm to palm, your Quirk quieting his, lulled and softened.

And that morning, you wake slowly, twisting around fitfully with the warmth that has blossomed gently inside of you.

Consciousness creeps to you, fighting against the pull of sleep, being coaxed awake by the fluttering of your heart, the slow roll in your core.

Your eyes lift, heavy with sleep, finally awake. You blink blearily before a sudden, sleep soft cry escapes past your lips.

You glance down the line of your body to find Tomura nestled between your legs, tongue tracing messy patterns into where you’re most sensitive. Your stomach swoops sweetly, flares into a spark of heat.

The light is soft on him. He cracks a ruby eye open to gaze at you, to open his mouth so you can watch the flash of glistening pink as his tongue laves against you slowly.

“About time you woke up,” he gets out, voice still morning-rough, a little grating. His fingers squeeze your thigh, pulling you apart further to be at his mercy, spread open all for him.

“Tomura–” you gasp, your hands finding their way into his hair, fingers gentle and weak with sleep.

He sets his mouth to you, sucks on the bundle of nerves in a way that makes you keen, almost arching away from him. He fixes his eyes on your face, watches as your expression twists up.

You can see the way his hips are twitching into the mattress. Sometimes you think he does this more for himself than you, takes pleasure in rendering you down to your most basic, most desperate.

Pleasure coils warm, simmers on the inside of you. Your fingers flex, tighten in his hair until he groans against you. When he pulls away for another moment to admire you, his lips are spit slick, a string of translucent spit and slick bridging between the two of you.

It makes you flush darkly, makes you throw your head back and whimper.

He takes you apart with the savagery and viciousness that he has always carried. Dawn spills over the bed sheets in rays of peach and honeysuckle, lovely for the impending destruction. You shatter like glass, pretty and ringing beneath his hands.

And then he’s flipping you onto your stomach, letting you claw at your pillow as he sinks deep inside of you. He hisses when he fucks into the crux of your sweet, supple thighs. Your hair is messy with sleep. He presses his chest to your back, presses you into the mattress.

You fist at your pillow, whining at the burn and stretch, and you can feel the sickle cut of his smile against the arch of your shoulder blades. He leaves sloppy kisses, scattering them, sucking at your skin until he has claimed and marked and branded you.

He nudges his nose against your cheek until you tilt your head back to his, to rub back affectionately, nudge into him like a cat. He hums in satisfaction, in pleasure, the sound of it rumbling against your back.

You feel like he’s trying to savor this. He doesn’t pull your hair, or speed up his hips. No, he waits until you arch your back for him, until you’re near begging.

He likes you weakened, maybe delirious, maybe like he’s giving you a dose of your own medicine. He’s trying to make you as addicted as he is, but there’s no need.

No need when he covers your hand with his, slots his fingers between yours. All five of them, squeezing at your hand.

“You were made for me,” he gets out, giving you a rougher thrust, his eyes flashing to your hands, “See?” he groans, fingers digging into your wrist, your knuckles, “Made for me.”

You moan, too, all wobbly and pitched, with all the pressure, with the squeeze of his hand. With the stretch of him inside where you’re vulnerable and soft and slick.

He drags everything out that morning, fucks you both into oversensitivity, until you’re both shuddering and gasping. He breaks you down, until there are tears streaming down your face, until he’s gripping you so tightly that he’ll leave a bruise in the shape of his hand.

He fits his hand against your throat at one point and your eyes roll into the back of your head. You end where you began, with the violet petal bruise of his fingertips into your skin.

You linger in bed with him that morning, letting him pet and stroke and touch you. You stay gentle, even when he gets rough.

You make cheap, bad coffee for the both of you.

You feel twenty something with a boy and his tiny apartment. A cat chirps at the window and you’re smiling when you let him in. The breeze is cool. You don’t put on clothes because you feel like an adult, with a lover.

You feel normal for a fraction of a moment after everything that’s happened.

You feel sated and tender and saddened. Your chest fills with aching as you watch Tomura drift in and out of sleep in the sunbeams.

You were made for me, he’d said and you reach out to brush a strand of hair from his face. You were made for me.

You swallow around the lump in your throat, the one that feels like needle pricks and the hard truth. You don’t have the heart to tell him that he may need you, but you don’t need him.

You want him, though, your fingers trailing down the lines of his face, you want him so badly that it hurts. Your fingers travel over the hitch of his scars, his body as familiar as a home.

You want him, but you don’t need him, you try to tell yourself in this moment. You want him, but you don’t need him. You will survive this.

Still, it’s going to hurt. You’re bracing for impact, can feel the free fall rush up to the ground, can feel your stomach swimming up where your heart is.

You’ll survive it, you think, breathing hard, trying to keep back your tears as you look at him. But it’s going to hurt, it might tear out something very precious inside of you.

You’d rather he just break your arm again. At the thought of it, you try not to choke on the bitter, furious laugh that splits from your aching ribs.

***

You get to know Eri, try to spend more time with her and Shouta and Shinsou like you’re trying to fix something you broke. The pieces aren’t quite matching up right, though. It can’t be fixed, not really, not fully.

You can’t close your eyes without seeing that villain in a pool of their own blood. Or Toga’s face made blue. Sometimes in these dreams, it’s Shinsou who is drowning. Sometimes the villain in blood is Shouta. Tomura is always the one who saves you.

You can’t look at yourself anymore. You can’t stomach to. Your lies explode out of you when you catch a glance of yourself, haggard and exhausted and beaten down.

Shouta takes you to a hospital after your fist collides with the mirror in your bathroom. Glass shatters into hundreds of reflections of your warped and terrible image. They’re not as pretty, when the sun isn’t setting in a warehouse with a boy that you think you love.

Your hand bleeds the way that man’s necks did–

Your world spins as you lean over the bowl of the toilet to throw up your lunch. You’d made it with Eri earlier, before Shouta had gotten home from class.

Shouta finds you on the floor, sitting in all that glass, with your hand clutched tightly to your chest. He must’ve heard the commotion next door.

“What happened?” he asks, voice flooding with concern. He doesn’t hesitate to step carefully over the glass to you.

The question feels too large for you.

I did something horrible, you think, that’s what happened.

“I’m sorry,” you mutter weakly, lifting your chin from its place on your chest. “I didn’t mean to.”

(That isn’t true and you know it.

(But you’re always trying to prove you’re good. Especially now. Especially to Shouta– trying to prove you’re worthy of his love.

You suddenly crave Tomura. You didn’t have to prove anything to him.)

Shouta lifts you carefully, cradles you to his body to carry you out to his car to bring you to the hospital. He treats you like you’re fragile, made of glass yourself. “What’s going on with you?” Shouta murmurs gently, but there's almost a plea in it, concern that is so transparent it hurts, “You’re scaring me– I’m worried about you.” he confesses, almost desperate, “You know you can talk to me, don’t you?”

The laugh that sputters out of you is hollow, a grating noise that gets choked off. Shouta looks at you warily, uncertain and fearful.

The hospital keeps you for three days. Eri asks Shouta about you, apparently. She misses you. Shinsou helps her decorate a card for you.

Get well soon! Is written in her poor handwriting with far too many colors, and in Shinsou’s messy scrawl at the bottom;

Miss getting my ass kicked by you.

The doctors tell Shouta you’re struggling with a lot of survivor’s guilt and you have to fight back another absurd, off-kilter laugh.

Part of you thinks you’d be better off with Tomura at this point (your coin uncertain, hanging suspended in the air), if only to relieve you of this guilt, when Shouta tends to you and cares for you and loves you so steadfastly that it makes you feel rotten and horrible and monstrous. He has no idea who he’s loving. And you don’t deserve any of it–

But you think of Eri and the way she clings to your sleeves. And how you and Shinsou share granola bars during training.

And mostly, you are terrified to be without them.

None of it’s the same, though, and you think it’ll eat away at you until you’re nothing at all but the empty lies you kept feeding them.

You want to be better, you realize, when Eri draws you in pictures, holding her hand. You want to be better, you realize, for kids like you, like her–

(Like Tomura–)

So you decide one night, with your hand still bandaged, with Eri sleeping peacefully on the couch in the crux of your arms, and Shouta at the opposite end of the couch, that you will stay with them. The easy thing to do would be to leave, to not look back. But you have always been nothing if not determined, if not a fighter.

You will become who they want you to be, who they believe you to be, even if it tears you apart from the inside out.

Which means giving up Tomura, which feels like giving up a rib.

***

You had hoped you’d be able to slip away from Tomura and leave your secrets in a rundown apartment in a part of the city you grew up in. You had hoped that you could get away unscathed, without Shouta ever knowing more.

But Dabi mentions you to Hawks.

Offhand. Something about another traitor hero. Something about Shigaraki’s bitch.

Tomura also mentions Hawks to you.

And here is your trouble, what you were hoping to avoid by never allowing him to speak about his plans; you now know that the Number Two Pro-Hero is a traitor. However, the only reason you know that, is because of your secret relationship with the leader of the League of Villains that you have been slowly, painstakingly trying to sever yourself from.

(It doesn’t help that he’s latched on tighter–)

So, if you go to Shouta to warn him that the Number Two Pro-Hero is a traitor, you have to also conveniently come forward with your own truth. And what if he thinks you’re a traitor, too?

Surely, it looks that way.

Truthfully, you might as well be– you killed someone.

You killed someone.

Your stomach squeezes tight.

You think of Shouta and Shinsou and Eri and the loss of their love, when you’ve been trying to earn it back.

You don’t get much time to mull this over, though, because while walking back to your own apartment at U.A., a shadowy span of wings fall over your form.

Your heart falls into the pits of you, the drop of it sharp, horrible.

You think running will make it look all the worse.

Besides, he’s fast.

You can’t decide how this will go. Maybe he’ll only want to speak with you, traitor to traitor. But then you will be confronted with the undeniable truth that you now need to share with Shouta, with the Hero Commission, for the sake of people’s safety. You will have to come clean. Maybe it will be worse. Maybe he’s not after you at all, but just in your neck of the woods because–

All other thoughts are cut short when he lands in front of you.

You try to think of a proper reaction. Should you be expecting him? On guard? Should you act surprised?

His wings flare and you realize quickly how massive they are. They throw you into their towering shadow, make you feel like a mouse.

His eyes glint when he pushes up his visor, the gold of them sharp, his pupils a pinprick. The eyes of a predator.

You try not to cower. You stand your ground, lift your lips a little like you might bare teeth in warning, your hackles raising. Backed into the corner, you feel half wild, too.

But Hawks beats you to any form of a greeting, his smile a menacing twist of his lips, like he’s trying to be pleasant but he wants you to see all of those sharp, white teeth of his. You think he doesn’t look like much of a hero in this darkness, with the way his wings look thorny and maroon. His voice is barbed wire, the drawl of it stinging.

You know you’re in deep trouble now;

“You and I need to have a little talk.”

***

You are kept in a steel room that the Hero Commission tells you is not a holding cell, but you definitely think is a holding cell.

Your mind has not slowed since you got here.

You scramble for a story to tell– for lies to sew.

Hawks is not a traitor. Not to the heroes’ at least. He is a traitor to the villains and you know, logically, that this is for the greater good, but something about it bothers you. Villains aren’t people to the Hero Commission. You feel strangely protective of Tomura’s league of outcasts, even if you know you shouldn’t.

But they’re young, with feelings and thoughts and lives and pasts.

Nobody ever mourns us.

No, they don’t, you think, trying to keep away bitter tears from springing to your eyes. They don’t bother trying to see the big picture, they don’t bother to try and figure out why villains are on the rise.

They can’t stomach the idea that maybe their precious hero system has given birth to their villains.

Or maybe they can and they just don’t care.

They need heroes for their charts and money and power, don’t they? So they need villains. A never ending cycle, forever going around on this carousel. You’re dizzy with it, you’re sick of it, caught up in it’s riptide.

You don’t look at Tomura Shigaraki and see the most dangerous, wanted criminal in the country. You see a twenty-year-old pawn, a chip in a bigger game. You see someone as starving and desperate as you were.

You see a coin flip.

(You see the person you fell in love with–)

Shouta enters silently and the moment you see him, you have to try to keep from bursting into tears. Your lip wobbles.

He approaches slowly, cooly, but when he gets near you, his eyes are livid and searching your face, like maybe he could finally find the lies you’d kept buried so deep inside of you. They’ve finally blossomed, you think, all of them sprouting from your body, creeping through your lungs and up your throat to choke you out.

“Tell me the truth finally.” Shouta says, sharp and icy. He speaks like he’s speaking to a criminal, “Now.”

You suck in a shaky breath, try not to flinch when he leans across the metal table and snarls, “And if you are a traitor, at least have the decency to tell me now, before they come in here and interrogate both of us.”

Tears catch in your lashes.

Through the throbbing of your head, you realize you have jeopardized Shouta in the way you never wanted.

“I’m not a traitor.” you get out, voice quiet but firm, barely above a whisper.

“No?” Shouta clips and you can see it now, the hurt in his eyes. He feels betrayed, deeply so, and you can’t even blame him. “Hawks says differently. Says you’ve been working with Shigaraki.”

You rub furiously at your cheek to try and keep the tears from falling, shaking your head quickly, “No–”

“Then what happened?” he snaps and through the blur of your own tears, you catch the way his own eyes glisten.

“I didn’t tell you everything, when I said I thought Shigaraki was stalking me.” you say, having readied this lie the moment that Hawks brought you to the Hero Commission’s doors. You give them the story they want to hear of you, not the one where you fell in love, but the one where you jeopardize yourself for them. You are careful to peer up at him through damp lashes, “I–I got close to him, because he let me, because he was interested in me.”

Shouta goes very, very still. All you can see is his chest rising and falling, quick, as he slowly begins to walk the path you’re leading him down.

“And I thought he might tell me his plans, I thought that I could help–”

“No,” Shouta says in disbelief as it all begins to connect, leaning away from you in shock, “Please tell me you didn’t–”

You lurch towards him slightly, naturally, your hands coming up to the table like you’re reaching for him. “I wanted to prove I could do this–” you choke out, voice breaking, “I wanted to prove I could do undercover work like you wanted– like they wanted!”

“What were you thinking?” he hisses in return.

“You never would’ve let me do this!” you snap, almost plead with him, and it must strike true because he looks away from you momentarily, “I-I saw an opening so I tried to take it– I was perfect for it. Shigaraki was interested in me. I used to be a thief. I would’ve fit in.”

The moment you say it, you realize how true it rings. It startles you, maybe, with how close you were. Almost, but didn’t, your coin doing an extra rotation in air. And why didn’t you? Why not be with Tomura now? Why not be where you fit in most? Where hero society wanted and expected you to be?

“I’m not a traitor,” you cry, tears tracking down your cheeks freely now– you think you’re trying to convince yourself as much as Shouta now, “I promise I’m not a traitor– I couldn’t do that to you. O-or Shinsou. Or Eri–”

And there is your reason. The truth to disguise your lies. You look at him, across from you, his face almost unreadable, with his furrowed brows and tense jaw. His eyes shine, though, gleam with unshed tears as he listens to you. The man who gave you everything, who has cared for you since the moment he found you– perhaps the sole reason your coin has flipped in their favor. All because he did more than what was asked of him, because maybe he just saw someone starving, too, like the way you did with Tomura.

Believe me, you plead, believe this.

There is a long stretch of silence after that, where all you can get in is hiccuping breaths.

Finally, Shouta asks, “Did you find anything out about him? Or the League of Villains?”

You exhale hard with relief, your shoulders finally falling. You collapse somewhat, exhausted, folding in on yourself.

You hang your head, then shake it slowly, “No,” you sniffle, wipe at your drippy nose, “He didn’t tell me anything. He didn’t trust me.”

Shouta eyes you warily.

“So that’s why you encountered him so much. That’s why you were there with Toga Himiko when–” Shouta cuts himself off when he sees your wince, the shuddering of your features at the mention of that incident. But he finally put all of the pieces together. All the pieces you’ve given him, at least.

You nod, stray tears falling quick, dripping off your chin, “I’m sorry for lying,” you get out, “I hated it— I hated lying to you.”

Truth.

Shouta throws you a hard look, “You shouldn’t have. It was dangerous and irresponsible. And now look at what you’ve done–”

Your stomach knots up tightly.

“I thought I could handle it.” You breathe and there is another truth, sprinkled throughout your lies.

But you were so horribly wrong–

Shouta is about to open his mouth again, but the door swings open and a man in a suit enters slowly. His gaze is cool as it falls on you and Shouta. You know this isn’t the end of your conversation with him, you know he wants to know more. But now, he focuses on the higher up that encourages him to sit, too.

He says, because Shouta has been such an upstanding hero and teacher, they are allowing him the courtesy of explaining everything now.

And then you watch as Shouta opens his mouth and lies and lies and lies for you.

He tells them that it was his idea to allow you to get close to Shigaraki. He knew, every step of the way. He tells them he bypassed speaking with a committee at the Hero Commission’s because it would’ve taken too much time. He says that they needed to act quickly and accordingly.

He takes the brunt of it, saves you from far more trouble. He’s a trusted hero. You’re an ex-thief in the eyes of the Hero Commission with a too-big Quirk. They won’t believe you and truthfully, if they did more digging, if they pried more, there is a chance that the truth might leak out of you, open like a wound.

Shouta protects you, the way he always has. You don’t deserve it and you can feel your heart tearing itself to shreds.

You know you can’t go back to Tomura, not after all this.

You watch Shouta lie for you, speak for you, get you out of the grave you have dug yourself. For the second time in your life, Shouta saves you. You try to hold back more tears, you try to hold back from throwing yourself onto him, clinging to him.

And finally, they ask, “Did you learn anything, then? About Shigaraki Tomura?”

He likes sour candy. He has trouble sleeping. He drinks too many energy drinks. There is a scar at the corner of his lip. He has a beauty mark on his chin. He is desperate and starved of love. He let’s a kitten sleep in the sunlight of his apartment. He tries to take care of the League to the best of his ability– he cares about them more than he will admit. He is not heartless. His hands are often cold but seeking, longing for what he can’t have.

Your eyes well up with tears but you take a slow, steadying breath. They don’t want those pieces of him, the human, messy ones. No, they want to know how evil he is, how diabolical his next plan is going to be. But you don’t know any of that, just that he holds you as if he never wants to let you go when you fall asleep at night.

So you’re not lying when you say;

“I don’t know anything about Shigaraki Tomura.”

Only that he wanted to be a hero– when he was a kid.

***

The days following are the worst between you and Shouta.

He doesn’t trust you anymore. You can’t fight him. You have nothing to say, which is perhaps worse than if you tried to fight with him.

There’s no defending you, especially if Shouta even knew half of the truth. He barely speaks with you some days.

He wedges the distance between you two wide, forces it apart further.

He does not comfort you, he does not hold you when you cry this time. He’s not there with soothing, hushed words or the gentle touch of his hand to your cheek.

A piece of his trust is broken, now so severely that it’s just a jagged edge, something you don’t think can ever be soothed.

(And you’re right, in some way– there’s a deep shift in your relationship with him, changed and scarred. It never returns to what you once had, when your life was very simple and all you knew was him.)

He doesn’t ever say, I forgive you. I will trust you again, in time.

But he eventually will make dinner for you again and you will sit beside him, shoulder to shoulder at his table with a respectable, lonesome distance between his heart and yours.

Nothing is ever the same again.

You think about running– from Shouta, from Tomura, from all of it. It would be the easiest option, where you never have to look either in the face again.

But the Hero Commission looks at Eri the same way they looked at you when they discovered you could destroy Quirks and you can’t stomach the idea of leaving her to them.

(Tomura was right in a lot of ways.

And when there’s a war on the horizon and the Hero Commission seeks to use you as a weapon, you will think of him again.

I’ll teach you, if that’s what you want, he’d said to you once. And he did.

You hate the system, the endless cycle, Prometheus chained to his rock, the need of villains to have heroes, the creation of heroes to make villains. The endless bodies, the using and discarding of real, human lives for a greater good. You wish you could destroy it.

But there is more than only destruction, too. What good is rubble and ruin and death?)

You stay so you can do what you can, so you can protect a child with red eyes, with silver hair, and a Quirk too big for their own body.

And you think maybe if you stay with her, it makes up for leaving Tomura.

***

You go to Tomura one last time, walk the distance to his apartment with your hands shoved into your pockets. It’s a familiar walk now. The pavement is wet from rain. It’s cold out. You don’t know what you’re going to tell him. You wonder how he’ll react– for a moment, you’re fearful. Will he lash out? For a moment you wonder if he’ll try to kill you.

But you know, deep down, he wouldn’t. Won’t.

And you won’t pretend you’re scared of him now. You won’t play the innocent hero, not in front of him.

The moment Tomura sees you, he knows something has changed. You are too expressive and now you look at him with a sense of foreboding. With a sadness that he feels uncomfortable gazing at.

You tell him, “I got in trouble with the Hero Commission.”

For a moment, he lets his hope grow and stretch inside of him. Maybe this is finally your turning point, your fall from grace that he will catch you on. But no, your lip wobbles and your eyes dart away.

“I can’t see you anymore,” you whisper.

At first, he wants to snap at you, hiss out something cruel between his bared teeth. Maybe if you had done this a few years ago, a few months ago, he would lash out, try to tear into his neck or you or the world. He thinks about hurting you, slamming you against a wall or–

The thought is unfortunately repulsive to him. He doesn’t want to hurt you, not like that.

His anger and resentment wells inside of him, swarms his chest viciously. He wants to argue, to point out every way your heroes have failed you. The world feels so absurdly unfair suddenly, to give him you– you who quiets his Quirk and touches him gently and winds your arms around him in the way he likes so much– only to then take you away, too. You who destroys with a touch, too. Who is perfect at his side.

But for all his work and care and strategy, he can’t get you to stay.

You will run back to your heroes.

You don’t need him, he realizes now. But you have his rib, tucked away inside of you. He wants to dig into you, pry it out, rip it from your body and take it back for himself.

But you’re crying.

And you’re pretty in the dark, like you’ve always been. This time, though, you’re not looking for a fight, there is no viciousness in you now. Maybe you’re too tired to fight.

So instead of erupting, instead of lashing out, Tomura steels himself. He’ll play the longer game, then. You don’t want to go, but you will. You’ll go back to your heroes and they will disappoint you. As they always do, at some point, eventually.

You will come back to him again, he tells himself.

And he will be forgiving, the way All For One has been with him. He sees it now; you, needing his hand, needing him to take you back. He will welcome you back into his arms, as if you hadn’t even left, and you will know then that you were right to leave.

He gazes at you, red eyes smoldering, “Then don’t.” he rasps and he’s trying to remain dispassionate, but his voice has a trembling note in it, the hidden fear underneath the harsh coolness.

Your eyes flicker back to him, your lips parting in surprise. You wipe at your eyes.

“So that’s it?”

And this makes him angry, the sharp tug of it like a dog at the end of it’s leash. He lurches forward threateningly, like he might hurt you.

(You don’t flinch. And he stops himself before he gets too close.)

“What?” he snaps, “Did you want me to beg for you to stay?”

He wants to, he realizes, he wants to howl and scream and tear apart everything in sight. He wants to say don’t go, don’t go, don’t slip from me, too.

He wants to bargain with you– what is it he can’t give you that they can?

Your heroes only love you because they don’t know you, they don’t know what you’ve done. Your heroes only love you as far as truth and justice go. A hero would sacrifice you for the greater good and you would agree with them, even if you were shaking and crying, even if you burned with all that liveliness.

But he’d sooner sacrifice the world for you.

You have his rib, he wants to scream, of course he wants to beg.

You shake your head, though, more tears falling free, “No,” you say, voice surprisingly strong, “No, I never made you beg.”

The truth of it burrows beneath his skin. He knows. The itch squirms beneath his skin. His hand reaches up, digs into the crook of his neck to scratch at it.

It’s Dabi’s voice in his head that says something about getting too distracted with this braindead hero. He has bigger plans than hiding in an abandoned apartment with you. More to do. You were nothing but a side quest.

His pause screen.

Besides, what’s there to be upset about? You’ll come back.

He won’t even punish you for leaving, he promises. He promises.

“Then that’s it.” Tomura tells you, a bitter curl to his lips.

There’s no goodbye, just the breeze between the two of you, the empty space that he always hated. The nothingness between that he always sought to destroy.

Eventually, he just turns away from you. He can’t stomach looking at you any longer. He can feel your eyes pressing into his retreating form– he imagines you rushing for him, crashing into his back to throw your arms around his middle. You can’t do it, you’ll cry, burying your face between his shoulder blades. And he’ll freeze, but eventually he’ll wrap his arms around yours and bow his head with the strength of your feelings for him.

Or he imagines later, when it’s the end of the world, and you emerge from the rubble to reach for him. It’ll be like his dreams, when the sky is falling, and you only want to hold his hand in yours.

He imagines you shouting to him, changing your mind, saying his name like it’s a song to sing, not mourning bells, not a curse or an affliction.

But none of it happens.

And when he turns around, you are gone.

You leave his life as viciously as you entered it, suddenly there, all furious and beautiful, and now gone, like a lightning strike, like a lifetime.

***

You tell yourself you’re going to be fine, but you spend random days weeping over a villain. You spend long nights awake, missing him, replaying it all in your mind. You cover all your mirrors. You try to be different. You wish you could say you regret ever getting involved with him, but it would be one more lie. You wish for the time before the worst of it, the strange honeymoon you never should’ve had.

You wish you’d remembered to slow down, to savor it all a little more. You try to remember what your first kiss was like and the shade of his eyes through the evening light of an abandoned warehouse.

You try to remember when you didn’t feel so heavy, so corrosive and lost.

It doesn’t help that you’re suspended from heroing; a choice made by both the Hero Commission and Shouta. There’s nothing for you to do some evenings.

Shouta lets you train with him and Shinsou still. Shinsou tries to cheer you up, though he doesn’t know what’s wrong with you. Still, it hurts because he’s trying. It hurts because he cares so much, even about you.

You don’t deserve it, after everything.

You take care of Eri more, too, now that she is nearly in Shouta’s care. You babysit her while he’s away. You grow close with her, fiercely protective of the young girl, careful to keep the Hero Commission at a distance from her. She settles in your lap on the couch in Shouta’s apartment most evenings, watching TV and movies, while he grades papers at the opposite end.

Sometimes she falls asleep tucked into your side. You stroke her silver hair and try to bite back tears.

She catches you, sometimes, perceptive as she is, and asks very gently, “Why are you sad?” even if a tear hasn’t slipped free yet.

And you always shake your head, trying to dispel the thought of Tomura and the parents that gave him such a tragic name as a child. You force a smile for her and you tell her something silly to distract her, “I’m not,” you promise, “I just think there’s an onion nearby.”

She wrinkles her nose at this, “No, there isn’t!” but she’s easily distracted with tickles or the promise of painting her nails or having a tea party with Shouta.

Miraculously, your relationship with Shouta begins to heal, despite your betrayal. You think he can tell something worse happened to you during your time with Tomura, you think he can tell that you’re hurting, so he ends up gentler with you. He doesn’t trust you, though, keeps you on a tight leash. He looks at you some days like he isn’t quite sure he knows you.

Nothing is the same. Part of you wants to regret it. The part of you that loves Tomura can’t stomach the idea of regretting it. Someone is dead because of you. Someone is alive because of you, too.

But Shouta doesn’t ask and you don’t tell, can’t seem to speak the words.

You can’t even say, I fell in love, can’t speak the truth because it is so horrible.

And you know what everyone would ask; who could love the likes of him?

Me, you think, vehement and grief-stricken, me, you think defiantly. Why couldn’t you? He was a child once–

Shouta lets you burrow into his chest, wraps his arms around you. He sways with you in the kitchen until you can keep back your tears, until your heart has slowed to the tempo of his. He kisses the top of your head.

And it’s Shouta who is with you, when you return from training, and open the door to your apartment to reveal a scruffy, mangy looking grey kitten that wasn’t there when you left.

Ryuji chirps happily at you, rushing to the open door.

For a moment, you’re so shocked that all you can do is stand, startled, as he rubs himself against your legs.

“Don’t tell me you found another stray–” Shouta starts, but all you get out is a small, choked noise.

And here is the impact from the fall, you think, looking at that little cat that is excitedly winding itself around your legs. You can feel the shattering of your heart, like he’d lobbed it against the wall. You wonder if it catches light the same way glass does, all stained with color and broken into shards.

You drop to the floor with the weight of it all, with the clean splitting of your heart.

The moment Ryuji climbs into your lap, a sob finally ruptures out of you.

Shouta is fast, coming down beside you, you think he’s asking what’s wrong, why you’re crying, but you’ve already gathered the kitten into your arms, cradling him to your chest as the tears come quick and furious down your cheeks.

You think maybe you should be more concerned as to how he got Ryuji here, in U.A. dorms, you should be worried about security and safety but all you’re thinking about is that little apartment that you hid from the world with him in.

No, all you’re thinking about is the way light fell through the lone window to turn him hazy and soft in your memory. You’re thinking about how he never denied you affection, so long as you gave it tenfold in turn. The drawl of his voice. The pressing of his fingers into your skin like you were a miracle.

To him, you were.

Another sob spills out of you, from somewhere deep inside you.

What a lonely life, to only be able to touch one person in certainty. You wonder who will be the next person that will lay their hands gently on a body that has known too much pain. You wonder if you will be the last person to do it.

The thought hurts, opens up a part of you that is tender and shaking and desperately furious.

When Shouta can’t figure out what’s wrong with you or why you’re crying, he gives up, and sits on the floor with you. He gathers you into his lap so your back is pressed to his chest, pushing your head beneath his chin, Ryuji still cradled in your arms.

You cry harder when Shouta tries to comfort you, when he hushes softly, so sweetly, only because you don’t think there’s anyone to comfort Tomura like this.

You think of Tomura alone, even without Ryuji and it just–

Crushes you.

You squeeze the kitten tighter to your chest as you cry and cry and cry. You let Shouta hold you against him, but there’s no comfort in the aching hollowness that is growing in the pit of your chest.

You want to scream at the world that tossed the coin.

But all that comes out is a garbled, misery struck, cry.

You never told him you loved him, never gave word to what consumed you. And you realize, sitting on the floor with a kitten in your arms, that you won’t ever be able to tell him now.

It will live and die inside of you, never spoken into existence.

And even though it’s too late and Tomura Shigaraki is readying for a battle with a giant without you at his side, you still whisper the words you never got to speak into the top of Ryuji’s head.

Your lips barely move with it, the quietest, most desperate, “I love you– I loved you.” that escapes you with a trembling breath.

Shouta doesn’t even hear the confession.

Ryuji nudges your cheek with his, though, purring softly, keeping your secret safe.

And in the least, you are able to twist into Shouta’s arms and bury your face in his chest to cry as hard as you need. There’s no distance between the two of you now, like you always wanted.

Always here when you need him, even now, when it’s not him you want.

The irony isn’t lost on you.

You mumble incoherent apologies into his shoulder, try to hide in him, like he might be able to shield you from all the hurt and ache of your first love. He doesn’t ask, but he tells you very gently, his voice like the hearth of your home, “If you ever want to talk, I’ll always be there for you.”

You keep Ryuji, clean him up, fit him with a new collar, a new life. Shouta helps you care for him.

Eri adores the kitten, hugging him to her smiling face every time she sees him. Thankfully Ryuji is even-tempered, eager for affection. Almost desperate for it.

Ryuji is like proof of another world, proof that it all happened.

Sometimes you rub between his ears and ask, “Do you miss it, too?” but all he does is peer at you inquisitively, eyes large and fixed on you.

You sleep with him, though, let the kitten curl up in your lonesome arms, hold tight to him the way you used to hold tight to Tomura.

***

In the middle of the night, your phone wakes you with its insistent chime and buzzing. You blink awake sleepily, slowly and blindly paw for your phone.

You turn the screen towards you and squint at the bright light, making out the word that flashes on it;

Unknown Caller.

You grimace, rubbing at your eyes. You debate putting your phone down, letting it ring and go to voicemail. Why should you answer for an unknown caller in the middle of the night?

And yet, something in you squirms, urges you to pick up. You have no idea who it might be— maybe someone needs your help. Is it possible it’s Shouta? Shinsou? What if it’s—

You answer finally, groggy voice slurring out, “Hello?”

You’re met with static.

“Hello?” you say again, voice hushed with sleep.

Still nothing.

Tomura sits on the other side, with the phone pressed desperately to his ear. He holds everything inside of him, barely allows himself to breathe on the other end.

He doesn’t know why he’s done this, only that he is on his way to proving himself with the League and he wishes you were still at his side.

He swallows, hears you call again, “Hello? Anyone there?”

He tightens his four-finger grip on the phone, squeezing his eyes shut at the sound of your voice, sleepy and soft in his ear, wrapping around the jagged parts of his heart.

He exhales and you must hear it because you say, “Is someone there?”

He bites back an answer, feels his lip tremble slightly.

He hears you huff, indignant little thing that you are and his lips pull into a shaky, painful smile. “I’m going to hang up now,” you say, all prickly, the way you’d get if he woke you too soon.

He used to soothe you with lips and teeth and tongue, run diligent fingers over you until you were sighing and arching into his touch. Until all your hard, vicious edges softened with the flattening of his palm on your body.

And for some reason you try, one last time into coaxing him to answer, “C’mon,” you say, almost like you know, “Nothing?”

Nothing, he wants to echo, but doesn’t.

His heart pounds an uneasy rhythm, a haunted tempo. He feels himself shaking again.

“Okay,” you exhale, slow, like you’re giving him a chance to stop you, “Goodbye.”

A beat passes, before he feels his heart lurch painfully in the hollow place of his chest at the thought of not hearing your voice again like this, so near. He doesn’t want you to go, wants to listen to you until it coaxes him to sleep.

“Wait– don’t hang up–“ Tomura hisses into the phone at the last moment, unable to decide if he wants you to hear him or not.

He gets his answer in the buzzing silence, long and drawn out, that fills his head. His heart.

And he sits there with his phone still in hand and his heart still on the line.

***

Tomura shouldn’t be here. He shouldn’t be watching you from afar, in the park that he thought you’d looked like a painting in. You’re beautiful.

But what does someone like him know about beauty, anyways?

The fireburst leaves are nearly gone, barely clinging to lone and stark branches. They claw up into the sky now, but the sun is shining. It’s mid-morning. You’re in the park with your mentor, with the violet haired boy he’d seen you with before, and the little girl with silver hair. The one that was in Overhaul’s care, with the devastating Quirk.

She tugs excitedly at your sleeve now and you give her your undivided attention, your face lighting up with whatever it is she tells you.

You scoop her into your arms and her echoing giggle is like wind chimes, melodic and childish and care-free.

You look happy, he thinks, with your mentor’s hand on the small of your back, looking down at you and the girl fondly. The violet-haired boy says something that makes the girl laugh, it makes you smile as you watch her.

You look back at your mentor with a look that Tomura has come to know; one that begs of attention and approval and affection. He can see the desperate glint to your eyes, hungry for his love.

He swallows around the sharp bitterness he feels. Jealousy floods him in a way he has never fully known. But it’s more than just jealousy for you and your attention, for the way you’re looking at your mentor.

No, it’s something greater, far worse.

He’s jealous of your mentor, with the easy way he gets to touch and look at you out in public. But he’s also jealous of you and your life.

He doesn’t realize it at first, but he’s begun to shake.

Because you were saved– isn’t that it? You were saved. And he wasn’t.

Maybe he’s jealous of the boy with you, too, with the possibility of his life so much brighter already. He has more of a chance than Tomura ever had.

Or maybe it’s the girl in your arms, with eyes like his, who he is most jealous of now. He has never allowed himself to ask;

Why couldn’t it be me?

But now he does and he can feel the pit in his chest grow with a livid sort of despair. Grief for a life never lived. Didn’t he deserve to be saved, too? Like the girl in your arms? Like you? Didn’t he deserve a life like this, too? What’s the difference? He wants to demand it, what’s the difference?

You were just a kid, you know?

His fingers dig into his neck. There is no one to stop him from breaking skin, for drawing blood on his own body. His chest festers, angry, like a blister. His stomach turns, his body trembling harder, like he’s a child, like he’s going to shake apart.

He looks at your smiling face, the curve of your lips, and wants you so bad it hurts. He wonders if you ever dreamt of him as a hero, the way he dreams of you as a villain. He wonders why it feels so unfair suddenly, the turning of your lives, the coming together and falling apart.

He shudders, feels the sudden lump in his throat. He tried not to mourn you, when you left him. He told himself that there was nothing to mourn; either you would be back or you weren’t worth it. He feels the pressure of tears now, though, much to his frustration. He feels his lungs burn for breath as he watches you hand the little girl off to your mentor, who props her onto his hip easily.

He watches you throw your head back and laugh, the sound of it distant, but he catches it, the outskirts of it. He used to feel that laugh against his throat, against his lips.

But now he watches you live a life he apparently never deserved.

His bottom lip trembles, a furious scowl marring his face.

He could scream or shout at a world that wouldn’t listen. The fact of it all, the helplessness of it all, burns beneath his skin like wildfire, like acid.

Tomura takes one last look at you; the expressive glimmer of your eyes, the flash of your teeth. He lingers on you, commits you to memory as if he could ever forget you. Maybe someday he will. Maybe he won’t have to, if you come back to him.

But he won’t wait on it, in an apartment that still has traces of you in it’s corners and crevices. No, he has more to do, bigger than him. Bigger than you.

Even if the horrible tempo of his heart begs differently, even if the shaking in his shoulders is an indication otherwise.

One last look of you– you’re talking, saying something with your hands. The little girl laughs again, her red eyes crinkling up happily.

Tomura turns away.

He walks a familiar path to the apartment, the wind tries to slice through his jacket, kicks up leaves and litter in shadowed alleyways.

He enters and there is no one trailing behind him, your hands twisted into the back of his hoodie, or his sleeves. It’s quiet. Empty. He surveys it once, the bed with unmade sheets. The window that let in beams of colored light, that Ryuji would sit at.

And then he sets his hands on the wall, all ten of his fingers down, the way he used to touch you.

The wall begins to decay, cracks and crumbles beneath his hands. It spreads, and spreads, and spreads like a disease filling out the body of the apartment. Dust begins to fall like early snow.

His heart squeezes painfully, his eyes suddenly flooding with pressure, with tears he tries to keep back. His head throbs, feels like it’s going to cleave apart. His ribs ache– hurt so bad it’s like he can feel the one you took from him, the gaping part of his chest.

His Quirk flares hard and hot and fast. It burns through him, floods his veins in a way that makes him cry out, suddenly shaking, suddenly pained.

He destroys the apartment, disintegrates the tiny world he created with you that existed outside of the real one. He unpauses the game. He takes apart what the world should’ve been, when he was here, with you. He sees now that a world like this cannot exist.

The peace, the ideal, the way you had understood him. Your unending compassion. It’s rare. Not enough to save the rest of them.

So he tears it all apart, pushes at his Quirk in a way he hasn’t been able to before, nudges at its strength to test it. It flares outward, eating away at the entire space, at the furniture, at the floor. Everywhere.

He seethes, blooming, finally allowing that livid and vicious thing inside of him to burst forward. It’s explosive, wrenching out of him in the form of terrible destruction.

He’ll grow into what he was supposed to–

I wanted to be a hero– when I was a kid.

The only option he ever really had, the hand extended to him a villain’s, gentle when he’d taken it.

He destroys the boy inside him, the one that was naive and hopeful and weak. He let’s that boy inside of him fall apart, split open and leaks gore before turning to dust, too. He kills the part of him that he had only ever shared with you, in the blue-dark of night, when you were lulled to sleep with just the sound of his heart.

He swallows down his anguish and his jealousy and his bitterness, keeps it safe inside him, like All For One always said to do. He’ll nourish it, let it grow, fester inside of him until the only thing it can do is explode out of him to tear the world apart, too.

When he’s standing in the rubble of the tiny world you’d made with him, the apartment complex demolished, the people inside gone, he knows what he has to do.

And he has so much work to do in order to achieve it.

He tries to forget you, to destroy your memory, too. He will not carry the weight of you around inside him.

(But in his dreams, you sit cross-legged in front of him, serene and beautiful, like a painting he knows nothing about.

In his dreams, you ask for his hands to have, and he gives you them to hold.)

[letswritestories101]

Heya im currently working on a book, it contains an arranged marriage, forbidden relationship and theyre royals.

however, ive no idea what to include in said book, like do i add a political element like a war? whos the villain? does the crown die and suddenly the main character is the king/queen! i just dont know and now im stuck.

any thoughts or advice for me?

Hey, anon! Hello and welcome!

Your story sounds cool, with classic and amazing tropes. A lot of good things can come out of that, for sure.

You seem to be in the brainstorming stage, right at the stage where you're deciding what you want before you start writing the thing itself. So keep in mind that it's okay not to have a very good idea of ​​everything yet.

Here are some tips that might work, IMO:

Think about the theme and/or message. It doesn't have to be something deep. It doesn't need to revolutionize the world or induce a paradigm shift. It doesn't even have to be new. But it has to be something that helps you focus, see the point of your story and what you want to tell. Even the good old 'love conquers all' helps to put a focal point. For example, showing the two royals loving each other despite being a forbidden romance illustrates this well. So the challenges will have to try to break them and not get it permanently, reinforcing the theme. Hence, from these limits now placed, you can think what kinds of challenges would best illustrate. Studying your elements that you want to put in and why you like them will help you find your theme. Adventure and friendship in the face of challenges can hide a theme from the power of friendship, not losing faith that something will work hides a theme about hope. It's about what you want to go through.

Discover the genre of your story. From what you've told me, she has a lot of romance so you can already trace some things like you already did. Ask yourself, is my book all about romance or fantasy or another element also has prominence. For example, if it's a fantasy novel with a romance, the fantasy will also need problems and resolutions. Look up the conventions of the genre and try to work from them. It will help to assemble the previous stitch, inclusive.

Think about what you like. We tell stories about our points of view. Our opinions appear in our art because they are part of us. So, find what you like and put that in the book. Helps a lot.

Go berserker with your inspiration! Make music playlist, moodboard, jot down all ideas including weird sleep deprived ones at 3am! Look for things that remind you of your book and save it!

Search, Search, Search! Know how a plot works, what are character arcs. Writing is a skill, so we have to improve it.

Only share when you are ready. The pressure for validation is high, but showing it to the public ahead of time can ruin your motivation. I've been through that. Give yourself time to think.

And remember, you and only you are the author. Neither I nor anyone else can talk about what you are going to write. The story is yours and that is our greatest blessing and pleasure as authors. We can create worlds and plots as we want and no one else. Enjoy it. And don't worry if someone else will like it. The answer is yes. There is always. Someone already likes. You already like it. And I can tell you from experience, your love for your book will reflect and beautify your stories for others like no other method of outreach could. Nothing shows how amazing a book can be like the faith and love that we writers have for our stories.

I hope my advice can be useful. Writing is a strange but wonderful hobby. You'll do fine :)

Some useful blogs:

@writingwithcolor

@wordsnstuff

@pens-swords-stuffswords-stuff

@hyba

@writing-is-a-martial-art

[stxleslyds]

Red Hood and the lost art of telling Joker to shup up.  

Okay, I know that I talked about Jason and Joker in a recent post but this is something different, I promise.

I really want to talk about how different Jason has been written since UtRH when it comes to him confronting Joker. Jason hasn’t been put in that position a lot but the times that he has, he lets Joker talk for far too long and actually pays attention to whatever he has to say.

The Jason vs Joker thing is basic in on itself and letting Joker talk isn’t exactly the problem here, the real problem is Jason letting Joker’s thoughts shape his future thoughts and decisions, I do understand that that’s exactly what writers want though, they want to build the problematic of: “Jason is just like Joker and the fact that he uses the name Red Hood only proves that Joker made who Jason is now”.

But the thing is that THAT problem is overdone at this point and the only time it worked was the first time it was brought up and it worked because Jason shut the Joker down.

Let’s see all the times (that I remember) the Joker and Jason have had a little chat and/or the times Joker’s words actually influence Jason’s thinking and decision making.

 Under the Red Hood – Batman (1940) #649

This is the first real confrontation we get to see between Jason and Joker after Jason’s death and it is beautiful. It's absolutely amazingly written, Joker goes on and on forever about how he killed Jason about how Jason is just as bad as him but that he is also just like Batman because he hasn’t killed him yet.

“You let me live after everything I did, you couldn’t pop my balloon. You just couldn’t. The apple doesn’t tumble too far from the paterfamilias. You are just like daddy-kins”

Jason lets him talk, yes. But he absolutely destroys Joker with what he tells him next.

“You couldn’t be more wrong about me. If right were a country on earth you’d be circling on the edge of the milky way. Yeah, I let you live but like always, every damned minute of your addled, posturing, psychopathic life, you think this is about you. You’re a worm. I’ve pitched you on a hook and dropped you into the brine. And I will beat the hell out of you Pagliacci because it was too much fun not to.”

“Listen to me Joker, I’m not you. I´m nothing like you. I know what I do and I know why I do it. You, you are, clinically speaking, a whack-job. But I know a secret, a good one.”

“You are not nearly as crazy as you would like us all to believe or even as crazy as you would like to believe. It just makes it easier to justify every sick monstrous thing you’ve ever done when you play the part of the mad clown. You are crazy, bubba, but you ain’t that crazy. Look at that. I wiped a smile off of Joker’s face. I have been waiting a long time for that.”

Everything about this is perfect, Jason gives Joker no room to mess with him. Whatever the Joker had planned on saying he had to eat because Jason wasn’t playing games and he was ready for any kind of lie the Joker had ready to tell. This is Jason Todd. He won’t let the Joker get under his skin because he knows the Joker and he, also, knows better. 

Red Hood and the Outlaws (2011) #15

Here Jason comes across Joker during the “Death of the Family” event. In this issue the Joker has information about all of the members of the “Batfamily” and he uses that to mess around with each one of them, in Jason’s case he insinuates that he was present in very specific moments of his life when Jason’s father got shot, when his mother overdosed and when he was on his own before joining Batman.

Jason doesn’t quite believe that Joker was there but as the reader, we can see this sort of sense of doubt in Jason. He hesitates a few times before resolving that the Joker is playing with him.

But as far as this issue goes let’s just say that what the Joker says doesn’t get to Jason, this changes though in the issue that follows up this story.

Teen Titans (2011) #16

This is where that story continues and where Jason starts to buy the story that Joker is selling.

Joker convinces Jason that he has his father and Tim’s father and that the only way for Jason (or Tim) to save their dads is by killing the other (Jason or Tim). Tim doesn’t believe it but Jason is ready to shoot Tim almost immediately.

However, Jason changes his mind about killing Tim just as Tim comes up with a plan for them to not actually have to kill each other. Here is where Lobdell’s writing shows all of its flaws, Lobdell is so desperate to show that Jason and Tim are besties that he forgets that Jason had no reason to stop trying to kill Tim to save his shit father because it is later revealed that Jason truly believed that Joker had found his father and had him captive. It wasn’t until Tim explained his thought process as to why those men weren’t their dads that Jason just goes “you realize, of course, the only reason I didn’t kill you right off is that I knew your big brain will figure out some way out of this” HA, nice save Lobdell but I see right through your bullshit.

Jason bought what the Joker was selling and that is the beginning of Jason’s downgrade when it comes to not playing Joker’s games.

Red Hood and the Outlaws (2011) #17

Well, in this issue Lobdell goes back to Jason kinda not believing what Joker told him, and Jason asks Bruce of all people if he thinks the Joker truly “made him or not”. Bruce says that he doesn’t believe that and that he didn’t have anything to do with the man that Jason has become either. For some reason, Jason is actually happy with what Bruce said and for a couple of moments, Jason goes back to being sure that the Joker knows nothing and that he is his own man.

It doesn’t last long though. At the very end of the issue, the trap that Joker had set up in Jason’s helmet triggers and Jason gets his face fucked up with acid or something.

But that’s not all because a hologram of Joker has something to say: “you were supposed to be my masterpiece from start to finish. But you were too stubborn to stay dead. So here is what we are going to do… You’re so determined to be your own man? Fine, let’s start with a clean slate”.

Basically, the Joker insinuates once more that he had something to do with who Jason was supposed to become and that Jason isn’t truly “his own man”, This is all a setup for a very dense storyline that will be continued in this run later.

Red Hood and the Outlaws (2011) #18

In this issue, Jason is in a coma after he is dosed with that gas in the previous issue. The Joker isn’t really present in this issue but he does make an appearance as part of Jason’s “nightmare” while he is unconscious.

That’s not all though, Jason has an illusion of Ducra (someone that he appreciates a lot), telling him that “after you left the All-Castle after you went back to the world you continued to let your life be defined by the actions of that man. You became a killer, lashing out at people who may or may not have deserved it. Eventually, you will hurt all those you have cared for. In that way, how are you any different from the Joker?”.

In this statement, there is a lot of wrongs that can come from two places, either bad writing on Lobdell’s part or just Ducra telling lies as a plot point.

“Let your life be defined by the actions of that man” is a sentence that horribly simplifies Jason’s thinking during the events of UtRH, because while he did resent the Joker, his real problem was with Bruce who had not avenged his death by killing the Joker himself. Also, Jason was doing other things back then, like being a pain in the ass for Black Mask and disrupting the drug trade in Gotham as well as trying to control the drug dealing to children. So that little sentence is just a gross misinterpretation of the true events which means that Ducra was wrong, and “she” continues to be wrong when she says that there might be no difference between Jason and Joker.

Luckily Jason thinks the same because he tells “Ducra”: “…don’t you dare compare me to that monster Ducra. I am nothing like the Joker! Nothing!”

Once again please don’t be fooled by Jason’s thinking because in the next issue it turns around really fast and really bad.

Red Hood and the Outlaws (2011) #19

Just a heads up this issue has a change of writer, Lobdell isn’t writing this arc, the writer that gives us this hellish story arc is James Tynion IV.

All that talk about Jason not being affected or not believing what the Joker told him is yeeted out of the window and it’s not a fun ride.

In this issue, Roy and Kory find a Jason that doesn’t know who they are or who he, himself, is. This is because S’aru that little floaty little shit took his memories away after Jason asked him to do so, well Jason asked S’aru to erase every memory that darkness has touched (Joker) and he does that. But him doing that is apparently erasing everything which, holy shit, how messed up is that?

But let’s take a look at what Jason says before he gets his memories taken away: “Not only did the Joker almost take my face, but he tells me he might have manipulated my entire life from the beginning! Even the good is tainted by him now. I can’t do it anymore. I can’t have that kind of doubt. If you take it away, I can go on living. I can keep fighting”. So, yeah that was a pretty emo speech. But the thing here is that if Jason is asking this dude to erase every memory that has been tainted by the Joker and he erases all of them then we might be facing one of two situations, either Joker has been messing up with Jason’s life from the beginning or S’aru is just a little bitch.

We will later find out in #20 that S’aru and Ducra planned the whole thing, meaning that they took all of his memories for ulterior motives not because the Joker had actually tainted all of them.

For many issues Jason has no memories and now that I am revisiting these issues, I now remember the twisted and completely insane plot they came up with for the “League of Assassins” and Jason being the “Chosen One”, everything was happening in this run, my god, it's like they wanted Jason to be the center of every single trope in writing history.

It’s in issue #26 that Jason asks for his memories back but the Joker having tainted his memories or not isn’t important anymore to anyone, including the writer (because he is too focused on telling this messy story), Jason (because he has enough problems at the moment) and the reader (because this book makes zero sense and it changes the story and motivations every single issue).

But there is another truth to be revealed in the next issue.

Red Hood and the Outlaws (2011) #27

Jason has planned along Ducra and S’aru to give up all of his memories to be cleansed so he could defeat Ra’s Al Ghul. But (there is always a but) Ducra says this: “Your greatest enemy returned and nearly took your face away from you. And in the process, shook your sense of identity to the core” “The final battle here will take place in the Well of Sins, and with all the doubt and fear clouding your mind, it would eat you whole”.

So yeah, now we have confirmation from Ducra that Jason had indeed let what the Joker told him cloud his sense of self and made him doubt who he was and if he really was in control.

All that back and forth for these many issues just to say, yes, Jason let Joker’s words affect him.

So here it is, let Joker get in Jason’s head to build the plot of a story, fantastic, the story was a mess because it had so much information, the mischaracterizations of Roy and Kory were at their maximum potential, and in this particular story arc not only are the events of Red Hood: The Lost Days officially erased from Jason’s canon but something quite out there is added to Jason’s canon from before he was even Robin (that’s a whole different story that I won’t be talking about here).

What an insane ride this arc was. Definitely not the kind of story I enjoy in a Red Hood book but that’s just my preference.

*This whole arc was written by James Tynion IV.

Red Hood/Arsenal #11

Joker is dead during the events of this run but the person who has something to say to Jason about how the Joker made the person that he is now is Duela Dent (“Joker’s daughter”, she isn’t his daughter she just found Joker’s face somewhere and she puts it on and “becomes” crazy, she is an incredibly weird character).

She says this, “You’re a lot like dad in that way” to which Jason says “He is not my father. He’s not even your father” but Duela continues by saying. “You’re kidding yourself if you genuinely believe that. Yeah, he took your life but look what you got in its place, you ingrate. You got your freedom. You were reborn.” 

Jason doesn’t fall for it or anything of the sort but once again writers are bringing up the Joker as the maker of the Red Hood and “suggesting” that what Jason has been doing and who he has become is all thanks to Joker. The idea of Jason having no free will is still present in this narrative, even when Jason doesn’t believe it.

Red Hood/Arsenal #12

I talked too soon because in this issue Jason is having some weird thoughts.

“Funny, isn’t it, so easy to call Duela “crazy” because she wears a dead man’s face. Because isn’t that what I’m doing? Before he was the Joker, he was the Red Hood. So maybe the line between men and the Joker’s daughter is a lot thinner than I’d like to admit.”

Here he is comparing himself to Duela and to the Joker to an extent, writers often bring up the fact that Jason uses the code name that his killer once had and they have people or Jason himself questioning why he uses that name.

Personally, I don’t think there is much to build from it (at least not from the perspective of Lost Days and UtRH), it was just a joke, a morbid one if you will. He wears the mantle of the person that destroys Gotham and fills its people with fear while he is trying to control the city’s drug trade and trying to keep the people safe in his own way. And the way he wanted to do it is almost the complete opposite of the way that Batman does things.

I just think that he is being ironic and acidic about the whole thing. He has obviously moved on from the fact that Joker killed him but he has issues with the fact that Batman has yet another child working with him while the Joker is still alive. And Jason really wanted to make Bruce suffer, so him taking the name and a similar appearance to how the joker used to look is also done to get a reaction from Bruce.

I really don’t think there is any sort of connection to make between Jason and Joker beyond that, much like there is no connection between the name Nightwing and the Court of Owls. Even though Lincoln March tried to convince Dick Grayson that he chose the name Nightwing because Owls fly at night and that meant that he was supposed to become a Talon and all that Dick still didn’t believe it because he knew why he chose that name and no one can twist his reason.

Red Hood and the Outlaws (2016) #10

Finally, I can stop re-reading New 52 books, I don’t enjoy it but I have to do it if I want to talk/complain about stuff.

This one is a little different because while Jason does talk with the Joker, the Joker isn’t really there he is just part of Jason’s imagination just like the Robin Jason that he is also seeing.

In this story, Jason is helping Artemis discover who she is but he gets captured in Qurac, yup that place, and worst of all from where he is being held, he can see the place where he died. All of that is helping Jason have some very vivid memories/illusions. He does actively hold a conversation with the imaginary Joker and Robin Jason though, and he is also having a lot of thoughts that let us know how the Joker affects Jason.

“This is why it was stupid of me to come back to Qurac. Even to help Artemis, even if I thought I could handle it. Physically, I am alone, but in my head? I’m drowning in memories of the worst day of what was my very short life. The day I was murdered.”

That’s what Jason is thinking but what I write next is what Jason’s saying as he talks to the imaginary Joker.

“Not interested in replaying this over again, like I have every night of my life since it happened Joker”

So, we are told that Jason thinks about that day very often, the Joker might not be involved much in Jason’s books but he definitely has a bigger role inside of Jason’s head. They chat for a bit up until Jason decides to “kill” the Joker, he knows, of course, that it is not real but it does give him satisfaction. (If only they would have let Jason actually kill the clown for real, or at the very least chase him just to show the reader that Jason does actually want to finish the job since the Bat won’t do it himself).

Having said all that, Joker’s imaginary death doesn’t last long because Jason is trapped in his mind and the Joker is basically functioning on a loop inside of it.

That is where the problem lies in this issue because Jason is letting us know that he is still heavily influenced by what happened that day and that he hasn’t been able to walk away from it. But once more that’s not the worst thing, because all of these thoughts have led Jason to think that he (in the present and as a fifteen-year-old) is the one to blame for having ended up dead. Yeah, it is messed up.

This is what Jason says to imaginary Robin Jason, “He is never going to die, Jason. Not here. Not in my mind, not if at some point I don’t stand up and walk away from my memories. From you.”

This is a major downgrade, from the Jason that we had in UtRH because that Jason had moved on from the fact that he had been killed what he was looking for was for Batman to avenge his death. He had other things in mind as well, like I said before in this post Jason had a lot of things going on, killing Joker wasn’t his only plan.

And this situation (written by Lobdell) is also very different from what was going on in New 52 where Jason being influenced by the Joker was used to build a plot. This is just a writer letting us know that this “new version” of Jason hasn’t worked out his problems when it comes to his death and his killer. That means that we are going backward.

After he realizes that he was unconscious all that time and that he was being tortured he does get his shit together in order to get out of captivity and go help Artemis.

The Joker and that whole thing that happened in his mind aren’t mentioned again, it was just for the reader to know that Rebirth Jason has unsolved issues with his death.

Batman: Three Jokers #1

Oh yes, here we are, we have arrived to that dreaded book, awful writing gorgeous art. In this book, the “Joker made Jason as he is now” trope is at its full potential; Johns drives this hellish truck of a book at full speed into our homes and then ends it by giving us one of the worst takes on Jason Todd’s characterization ever.

But first, let’s talk about the Joker and Jason interaction in the first issue. As Jason and Barbara are left alone with the Joker that they came across moments ago the Joker begins talking because that’s what he does.

He says this, “I’m the loop-de-loop, the hamster-wheel-of-doom. The cycle of pain each one of you is trapped in. Take “Red Hood” here, for example. Have you ever wondered why he uses my former moniker? Who in their right mind would take on the identity of their killer? Am I right?”

He is obviously being a little shit on purpose and is waiting to see if somebody will take the bait. Jason is the first to talk and he says this: “I took it because I’m owning what you did to me. You made me into this. I will be your destruction”.

Congratulations Jason, you took the bait, and now Barbara will fight with you over it.

Jason raises his gun to “break the cycle” and Barbara is like “please don’t do it” and boy is Joker having the time of his life! Both of these idiots are playing his game, Johns really did both Jason and Barbara dirty with this.

Here is where THE problem with letting the Joker talk is. This Joker got under Jason’s skin in seconds and Barbara did nothing while it happened.

This is what the Joker had to say. “Let’s look at the facts here bat-people. I bashed this boy’s skull in. I killed this Robin” to which Jason says “You didn’t kill me, you only made me stronger” which is weird because the Joker did kill him so I don’t know what kinda comeback that was supposed to be but Joker wasn’t done because he continues by saying “Yes, you crawled from the shallow grave I left you in. You lived on to fight another day. Hurrah! You survived because of your tenacity! Or maybe… maybe I beat you to a bloody mess… I took you right to the edge… because I wanted to leave you alive.”

Great that’s where the clown is going, just fantastic, more of the “I made you” but that’s not all because the Joker tells Jason that him having hurt Jason wasn’t because he didn’t like Jason, it was all about Batman, Jason doesn’t matter.

But that’s not the worse thing that was written in this awful book, Geoff Johns seems to have felt that the trauma that Jason went through in the original “Death in the Family” story wasn’t enough because he decided to add something new.

That’s why the Joker says this next, “Do you recall what you said to me while I was breaking your head in with that crowbar? As your blood streamed into your eyes and your skull cracked? Because I cherish those words. I’ll always cherish them. ‘Please stop! Please! If you let me live, I’ll do anything you say. I’ll be your Robin’” “And look at you now my little “Red Hood” shooting up people and making Batman’s life miserable! You are my Robin!”

What a nightmare Johns decided to put Jason and Jason Nation through huh? I hate this, this is the worst thing that has ever been written in a Jason Todd story (although I can say that about many things that were written in this three-issue book).

Jason kills the Joker after he says all that, Barbara does (for some reason) try to stop him from doing it but luckily, she can’t stop Jason.

But here is the thing, Jason killing the Joker doesn’t make me feel as satisfied as I would have liked, and it doesn’t feel that way because Jason let Joker talk for far too long and what Joker said ended up getting in Jason’s head and messing with him.

Batman: Three Jokers #2

Yeah, there is no rest for us, Jason Nation, in this issue Jason goes looking for another Joker to kill and he finds one but he gets captured. Johns really had to get Jason naked for Joker to torture him mentally and physically? Johns is, himself, a major red flag but that’s not what I am here to talk about.

In this issue the Joker that captures Jason has the same things to say as the other one, DC writers really have no imagination when it comes to building conflict between Joker and Jason, huh?

Anyway, Joker says this, “tell me something. Why would you put on that helmet and call yourself Red Hood after what we did?” Jason of course replies “Come on, is every one of you copycats gonna ask me the same thing? It’s a joke” the answer isn’t enough for Joker (the two of them that are here with Jason) so he continues talking. “A joke? We left you with brain damage and permanent nerve pain. Physical and emotional trauma so severe that the only relief you ever find is when you inflict pain on others. You and me, boy, we’re more alike than you’d care to admit. But you know that already. You nearly died and you blame the Batman. You hate him for it. Me too. You hate him most of all don’t you?”

Now, here is the thing, that whole thing is bullshit, none of it makes sense. From Jason having permanent nerve pain to Jason hating Batman the most, everything is a lie. And my confusion here is that I don’t know if I have to feel like Joker is doing it on purpose to be a little bitch or if Geoff Johns was on crack when he wrote this and he had actually never heard of Jason Todd in his life before.

The whole thing is a mess, it feels like he is writing Jason from an origin and story that we never read. I don’t know how to explain it, but the whole thing feels cheap, it’s a cheap trope and it’s a cheap take on who Jason Todd is, was, and will be.

The nightmare doesn’t end Jason Nation because these two Jokers have something else in mind, you see, if they said that they made the Red Hood when they killed Jason the first time, maybe if they kill him this time then he could possibly come back as the Joker. Yeah, this book did nothing for Jason.

Let’s make something clear, Jason does NOT hate Batman/Bruce for not being able to save him, he hates the fact that Batman/Bruce didn’t kill the Joker to avenge him. That simple thing doesn’t exist in Three Jokers and that’s why things like the ones that happen next are allowed to happen in this story.

Bruce and Barbara find Jason and when Bruce asks if he is okay Jason just goes berserk, he says: “Am I all right? What do you think Bruce?! You did this to me. You put me on this path. And I do hate you for it. For leaving me in the dirt. Replacing me one Robin after another without a thought.”

This, everybody is what you get when you mix bad writing with Jason being mentally manipulated by the Joker.

It's a shame that Jason is being treated this way at this point in time, in a book that came out in 2020 when Jason was able to shut the clown up with a knife and a couple of words back in 2005. What a downgrade.

At the end of this issue, Jason is safe and recovering but he still is in the same mindset, he says, “What the Joker said about how I’ve been on the path to being like them for years… they are not wrong. I don’t want to be like them though. I really don’t.”

It’s like a never-ending wheel of pain with this book. Jason is talking to Barbara when he says that and he is trying to look for comfort in her. And here is where the Jason/Barbara subplot begins and I only bring this up because something that happens in the next issue is based on the kiss that Barbara gave Jason but then was like “that doesn’t mean anything, I was just trying to comfort you”. Johns shouldn’t be allowed to write Barbara and Jason ever again.

Batman: Three Jokers #3

It’s in this issue that we find out the big subplot that Johns has prepared for Jason, are you ready for it? Yup, Jason should stop being the Red Hood because if he keeps it up, he will eventually become the Joker.

I know, I know! Jason would never stop being Red Hood, he is not on a path to become the Joker, that’s crazy! Jason’s Red Hood is a character on its own and he is amazing and just because he has different morals from Batman doesn’t mean that he is a bad guy! Right?...

“I’ll give up being Red Hood for us. I can be something else. Or I can be just Jason.”

To this day I cannot believe that those words supposedly were written by Jason Todd to Barbara Gordon after Barbara rejected him three times. The level of “what the fuck is this” is incredibly high with this one…

This whole book was a mess and I am so glad that it didn’t last longer.

Anyway, that’s it. In conclusion, Jason didn’t let the Joker get under his skin the first time they interacted after he came back from the dead but later when DC decided that UtRH was just too good of a book they came up with stories where Joker does get under Jason’s skin and Jason becomes convinced that he has no free will (or at the very least he doubts his free will) when it comes to him becoming his own man.

As I have said before, that for Jason Todd is a major downgrade. And it's one of the many things that hurts Jason’s characterization in current comics.

[ichayalovesyou]

Cinematic Parallels: Spock and Pike’s “Deaths”

I just, need to talk about how Pike’s knowledge of his own fate and how his “death” deeply impacts and recontextualizes Spock’s death (and subsequent resurrection) in Wrath of Khan and The Search for Spock in the BEST way, both comforting and painful. I think it is deeply fitting, and beautifully telling about Pike and Spock’s relationship.

For one, they both have foreknowledge of their “death” Pike learns of (and experiences!) his through the time crystal in Through The Valley of Shadows. Spock has less time, but he still calculates what he has to do and the consequences of doing so loooong before anyone else does. Both, in spite of the consequence to themselves, choose to face their grim destiny anyway! Neither of them had much choice of course, these men both have the same core. They will not sacrifice their values or principles, let alone the lives of others, to save themselves. Though the words mean different things for both of them. Both are believers in service, sacrifice, compassion, and love. “The needs of the many outweigh the needs of the few, or the one.”

It is proof of Pike’s core that sparks the beginning of a new character arc, and a realization that leads to the apparent ending of Spock’s character arc. One starts with ultimate sacrifice, the other ends with ultimate sacrifice. Pike, who embraces life, must come to terms with his “death”. Spock, who has avoided life and shown tendencies toward self destruction, proves his new appreciation for life, ironically, by dying so others can live.

Most tragic of these parallels, and Star Trek enjoys this trope and knows exactly how and when to use it to its most painful degree~

They are both separated from what they care about most by a wall of glass as they succumb to their injuries.

For Spock, this means Jim, his t’hy’la, a chance to live happily ever after together after Spock had finally, finally made peace with himself. Denied the tender dignity of even being able to touch him. For Pike, this means the future, or at least being able to participate in making a better one (even though he does more than enough of that). The knowledge that from that chair, he cannot serve Starfleet to the capacity he once had is a death in and of itself. This is represented by the young, the cadets, Starfleet’s future. Those who cannot get to him, distraught but unable to help. I imagine he was likely more worried about them being traumatized by what they had experienced than about himself. Neither are literally alone, but they are both isolated by the exact same barrier.

On a lighter note, another significant parallel is that they both get a second chance for life! Spock risks everything, lies, steals, schemes, kidnaps. Even faces the death penalty (not just for himself, but potentially for Jim as well!) just to get Pike to Talos IV where he does not have to be confined by his chair and can be with Vina in The Menagerie parts 1 & 2. As soon as Jim receives an inkling that Spock is alive (or at least can be resuscitated), he does the same, in truth even more, to bring Spock back. Both of their loyalest of counterparts were willing to die to ensure the other’s happiness.

It makes you realize how deeply what happened to Pike must have affected Spock. I genuinely wonder if (and actually hope that) Spock discovers Pike’s foreknowledge and nature of his inevitable disability, it would make the way Spock deeply internalizes “the needs of the many” that much more potent. Even if he doesn’t, and we don’t get that from Strange New Worlds, he surely must’ve internalized not being there when Pike sacrificed himself. He carries that guilt, and the pride of having found some small solution to Pike’s misery, with him for the rest of his life.

Not only that but Spock learns from Pike’s refusal to let anyone else help! He has a plan before he dies, he puts his Katra in McCoy since he cannot give it to Jim, ensuring the survival of his consciousness at the very least. I refuse to believe, with the significance of these similarities, that some of Spock’s final thoughts before his death in Wrath of Khan, were of his former captain, of Chris.

“This is Starfleet, I give my life for you, you give your life for me, and nobody gets left behind.” - Captain Christopher Pike

[staylavendertea]

young avengers characters and relationships as songs

billy kaplan : season of the witch by donovan and mr. sandman cover by joe p, it’s fun, there’s that groove, it’s witches and it’s dreams; a total billy kaplan jamming out in his room in his boyfriends too big shirt 10 at night moment with that magical and just like ,, witchy billy vibe i can’t explain through words that i love dearly, it also just gives me a connection between him and wanda i really love, the family witches between soul mother and soul son and that bass in mr sandman for some reason screams billy

teddy altman : space girl by frances forever need i say more, that song screams smiling golden tall boy theodore in overalls and sweaters, prince charming of space deserves the song space girl, the song is soft like teddy is, all hugs and kisses, that is until “stupid boyfriend putting himself into stupid danger all the stupid time” and “why do i try he never listens” “i heard that” “sure now he listens” then it becomes all hugs, kisses, bickering with the boyfriend, and threats of mauling people, but that’s for childrens crusade and family matters arc to tell

tommy shepherd : rebels by call me karizma but also steady, as she goes by the raconteurs mostly just for that guitar and music, i heavily head canon billy as the pianist and tommy as the guitar and bass player all the way and steady, as she goes screams tommy’s kind of music, the song rebels because that boy is the biggest rebel around and i wouldn’t be surprised if he was an arsonist

eli bradley : i just wanna shine by fitz and the tantrums i honestly had a bit of a hard time finding a song that really perfectly fit eli, but i think this one really hits the spot - eli is totally the boy that’s just trying his best and live up to his and everyone else’s expectations, i think he’s actually a softie and repressed nerd that believes heavily in doing what is right and i think that this song encompasses that, i really miss eli bradley thank you for coming to my tedtalk

cassie lang : blackbird by the beatles (cover by dodie) cassie gives me total adorable and soft but such a cool person dodie vibes, but i think the song blackbird fits cassie on so many levels, especially the lyrics as growing up after losing her dad, getting and learning to control her powers, and growing as a super hero she knows her dad would be so proud of, i love every single one of the young avengers but mygod cassie

nate richards : run boy run by woodkid and something better by hidinin i feel for nate, that poor kid literally is running away and trying to kill his future because he knows it’s a bad road and honestly he’s so brave for that and it’s all thanks to nate that we got all the young avengers in the first place so credit will be payed where credit is due, nate is really just a clumsy teenager thats a total nutcase and a bit clueless without that common sense sometimes that will think a pack sour troll gummies and a bottle of gateorade is a well rounded training diet but he’s also a descendent of sue and reed richards and what’s there to expect from child geniuses

kate bishop : love club by lorde and ribs by lorde i kinda just stumbled upon these honestly forgotten songs in my playlist and was pleasantly surprised how perfectly kate bishop these songs are, the lyrics most likely mean something else but i see the love club as the young avengers and “go get punched for the love club” just sounds like a kate bishop thing to say, these songs give me vibes of kate bishop in a rolled sleeves black and purple flannel and black jean shorts with scuffs and bandaids on her elbows and knees, probably also a developing black eye and bloody nose but lookin badass per usual

david alleyne : karma by ajr i picked this one for david because the second i heard it david was immediately the person i thought of when listening to it, i haven’t read many comics with david in them, i’m searching tho, but i am reading the current x factor and david just goes through a lot poor dude just wants to learn and help with what he can and i love him every moment for it

america chavez : a good song never dies by saint motel and dead girl in the pool by girl in red i honestly don’t know much about america besides some basic background stuff and some her character and personality since i haven’t been able to get my hands on some ya v2 issues besides what i’ve seen online but what i have seen of her i already love her and know she is so badass and a bit chaotic but in the best way possible from the little i do know about america’s character i think these songs just fits both the vibes of how she presents and holds herself but also her personality, america is a good song that just never dies are vibes i will happily live with

loki : run the world!!! by dayglow i haven’t really read much of loki in the comics, the versions of them i know the best being the actual norse myth god and movie loki and i know how the movies can be with their comic book characters, but from what ive heard about kid and teenager loki is that they’re a little punk and this song seems to just fit that perfectly

jonas : growing pains by coin i honestly didn’t know that there was more to jonas besides ya v1 and childrens crusade but now i’m intrigued, but this song just speaks jonas to me who i was also calling judas for like ten minutes without realizing i had a totally wrong name, but from what i read and his whole thing with cass, i think growing pains very much fits a mr. jonas

now for the relationships/ships - this post is so long i am so sorry for all the reading but i’m having fun -

david and tommy : affection by between friends im not even sure completely why but the music just screams david and tommy’s vibes, especially how tommy is usually head canonized in relationships, *chiefs kiss* of a song

nate and cassie and jonas : in the middle by dodie this song is literally the three of them, like perfectly, the lyrics fit to a t and it’s literal perfection for them

billy and teddy : pleaser by wallows for how much i love them i surprisingly had a hard time finding a song for them, i know at one time i heard and had a song that was perfect but i can’t remember it all, but i think pleaser fits just as nice, it fits their personalities and the music itself is the vibe they give off to me : imma make an edit from this post previously cause i’ve been thinking about and i would like to add the song leaves by joe p cause it just fits too well, especially when looking at billyteddy fan art whilst listening to it, it’s too good : HI THIS ANOTHER EDIT IMSORRY but it literally took weeks to remember but now i remember what the original song for them i had picked - electric love by borns - it also gives me billy lightning powers vibes and i do adore some billy lightning powers, i think it would be so cool to see them mixed in with his reality warping ones

eli and nate : talk too much by coin honestly it’s them, it’s a vibe they both argue and to each other, talk way too much, i’m calling it they kissed like at least once just to see how that would go - probably arguing who was the better boyfriend when they were both single

eli and kate : falling for u by peachy! and mxmtoon this song is very eli and kate for me, especially the beginning of their relationship not relationship, was that ever really established what was happening there ?? but this song fits perfectly amongst the bickering and racking numbers of how many times they’ve saved each other’s asses

kate and america : given it all by hayley kiyoko and midnight love by girl in red i love this ship and i have no idea if there was ever a thing happening between them or if it was pure fandom but it’s amazing and i love it, hayley kiyoko and girl in red is an of course and i think these songs speak them

- now just the young avengers as a group -

leaves by joe p a song that is totally just a hang out and drive all around all night as teenagers without a care in the world song and can totally see the gang jamming out to it

hey barbara by IV of spades this song literally speaks “hey did you watch that one beach episode” sunny and everyone vibing and hanging out, i can totally imagine tommy trying to get david to dance this and the attempts made is hilarious

teenagers and na na na by my chemical romance now last but certainly not least mcr because of course mcr, these kids can definitely be punks when they wanna be, especially when they’re mutant/alien/super hero teenagers that will literally do what they see fit, all in good manners of course

whhoooopp this was a lot longer than what i was initially expecting to make but after a few hours of song surfing and trying to make tumblr typing fonts work with me we’re finally here, this was just something fun for me since i associate music with everyone, but if you’ve read this far and wanna mention a song you think fits, totally put it out there, share the music !!

[hey-hamlet]

BNHA FIC PROMPTS

A collection of all of the fic ideas from that ask game, as of now. I’ll throw in new ones if i get any and when I remember. Feel free to use any of them, I’d love a link if you did!

with hands to the sky, I beg (what will save us?)

Izuku is a god who asks to be reborn as a human to try and help. He is warned he can’t return to being a god and will join the mortal realm, ever reincarnated. He agrees.

Izuku is a child with faint memories of a life he never lived, who knows too much about the world but not enough about the people around him. He’s not listed as having a quirk but he’s never gotten sick, never been hurt. He scares the other children and the adults don’t like his precocious nature. Inko loves her little miracle.

 My Soul is Like a Supernova

Things happen around Izuku. Always have. Everything from earthquakes and villain attacks to miraculous healing and lottery wins. He’s always attracted big events like this - as if even the universe can see how important he is and it warps itself around him.

He sees this as perfectly normal. 1A is begining to notice a stressful pattern.

This one regret of mine

Character study of Inko and how she deeply regrets so many things she’s done in her life, from her husband, to giving up on her carrier, to telling Izuku he couldn’t be a hero and then letting him keep going to UA.

But no matter what she’d never regret her son.

Of souls and lost causes

A good ol’ Izuku sees dead people AU, focused more on his younger years when he’d wander around the city helping as many spirits as he could, only to return home at the end of the day exhausted and dirty to an increasingly worried mother who believed the doctor when he said seeing ghosts as a quirk would be impossible.

my life.your choice

Underground heroics AU (i dont think ive ever posted that au huh): Izuku is the well-known son of japan’s immortal emperor, All for One. Born quirkless, he’s been emotionally abused but violently protected his whole life by his father, his mother killed before his eyes for trying to take him away. He’s never been able to make a choice for himself save for his bodyguard - his childhood friend, Bakugo Katsuki.

Katsuki made a pledge to protect him when they were in kindergarten and he’ll be damned if he breaks it now. And if it takes the two of them joining the resistance, meeting a vigilante by the name of All Might thought long dead and Izuku receiving a near-mythical quirk? Well, that just makes it more exciting, doesn’t it?

I forgot that you existed

Izuku gets hit with a quirk that not only makes people forget him, it prevents them from seeing him as well - all but erasing him from reality for everyone he knows. He can still interact with things but all it manages to do is just UA shut down under fear of villain infiltration. They find Izuku 18 hours later when the quirk wears off - a motion tracking gun trained on his forehead.

certain uncertainties

No one can predict the quirks trapped in One for All or when they’ll show up. Anthology fic of Izuku discovering each of them, some being rather helpful, and at least one piece of merch being sent into a low orbit.

Sometimes goodbye is a second chance

Set in the same universe I wrote console reset in; during the two heroes movie: they never defeat Nine and he slaughters the whole island and his class, leaving Izuku till last. He comes back at the start of their first day on the island and doggedly makes friends with every islander he can because while it hurt seeming them die, it hurt even more knowing he’d never even learnt most of their names.

They win this time the first time they meet him, even if it’s a marathon fight of 8 hours with him and Bakugo doggedly wearing him down. No one dies. Izuku thinks it’s worth dying as many times as he has to to keep the people he loves smiling.

The immortality of the heroic spirit

One of the quirks in One for All is determination: if you have something you desperately want to do, you can’t die - no matter how much blood you lose or home many pieces your body is crushed into - you’ll just heal back to where you were before you died. All Might and Aizawa find this out to horrifying effect during a brutal villain fight they are stuck watching on the news with the rest of a terrified UA.

In hindsight this makes a lot of sense to Izuku. Aizawa wants to scream. All Might has coughed up more blood than is probably healthy and all of 1A bruised hands from where they were clutching each other’s when it got too tense.

Shine on you invincible legacy

Izuku becomes a top 10 hero before hes even out of high school, hitting No.2 the second he graduates and taking No.1 from Hawks literally the next time the ranking is counted. 1A will not stop throwing him parties each time he moves up in the ranking, even if in 3rd year it was every other week. All Might comes to ever one of them.

Shake the Dirt from Your Shoes

Izuku will be a hero and no one will stop him - an AU a fair bit like the beginning of canon except Izuku fights back, remains unending optimistic and maybe engages in a light bit of technically legal vigilantism, accidentally befriending a vast array of heroes and a student or two.

To his horror, they recognise him out of costume as soon as he speaks to them, resulting in a very eventful first day at UA.

do you feel with a heart of steel

Original Sin AU, young Izuku finding feeling emotions difficult and not knowing why. He finds a dying animal on the way home and sits with it, patting it until it passes away. He doesn’t think he feels anything, but his cheeks feel wet.

all you want is milk and honey

Villains have been trying to use Izuku his entire life, much to his annoyance and confusion (I wonder who in his family might make him known to villains? hm). He’s gotten very good at being intimidating, even as a child.

When he gets kidnapped with Bakugo on a primary school field trip he decides to hell with it and breaks out all the stops. Turns out villains don’t tend to want a 10-year-old who can describe in great detail how they would hang you with your own intestines.

Bakugo decides that fuck Izuku being quirkless, he’s kind of amazing.

Even the stars

Izuku dies young and no one but the stars cry for him. They bring him back, but his body is cold and he has a nova burning where his heart should be. A four-year-old who has known death and walked among the stars is a terrifying thing. His skin has a shimmer to it, his eyes look like planets with no visible pupil, and he knows far too much.

The stars still speak to him, and they see everything.

bitter dreams and optimistic nightmares

Bakugo and Izuku grow up good friends, until Izuku is taken by villains age 9.

Bakugo’s determined to be a hero to save Izuku, even if it hurts to be at UA without him.

Izuku hates hurting people but he’s determined to make the most of his horrible situation by leaking information to heroes whenever he can. He’s given to All for One to serve as a lab hand to the doctor when All for One finds out this rag tag outpost of his had been hiding a valuable resource.

They meet at the USJ.

Mind Games for Two Shinsou and Izuku are both gen ed students in the same class, but with Shinsou stubbornly refusing to make friends and Izuku being the vice president they are almost strangers. UA has a no quirkless students policy and Shinsou has accidentally discovered that he student in his class with an analysis quirk, doesn’t, actually, have one. Izuku is aware Shinsou knows. They both want to get into the hero course but are under the impression there is only one spot.

It’s tense.

The Melody Stuck in My Soul

Izuku has an empathy/emotional control quirk that hears other’s emotions like music. He uses this both to read people, to defend himself, and, because hes Izuku, to ramp up his adrenaline/motivation/anger to kick ass. He and Bakugo are friends because baby Bakugo was lowkey impressed Izuku managed to weaponize his tears.

Advantage of the musical element: it gives him something concrete to latch on to and change, and it was very easy to work out which emotions were which. Also he has his own theme song, even if he’s the only one who can hear it.

Disadvantage: He cant turn it off. The stronger the emotion the ‘louder’ the music (it doesn’t cover up natural sounds because its not technically there, you get me?)

Error 404, childhood not found

A Hero’s Son AU, snapshot’s of Izuku’s childhood with No.1 Hero All for One as his abusive father.

Age 4 when his quirk never comes in and All for One abandons all pretences of loving him. Age 6 when he realises his son is intelligent and has a use as a lab assistant for the doctor. Age 8 when Bakugo first realises something is wrong. Age 9 when his father is almost killed by the No.1 villain All Might. Age 9 when he’s made to work in the labs with the doctor.

Age 14 when he meets All Might. Age 15 when he makes it into UA.

Darkness Growing (The Light Ever Smaller)

Villains take over Japan after the current arc, leaving all heroes and students that don’t switch sides on the run. 1A is instantly separated with a few of them  being killed, most of the living students with Aizawa and Izuku and Bakugo by themselves, both too stubborn to leave the other.

Aizawa is desperately trying to get to Izuku and Bakugo in an attempt to keep them safe, while the two of them are avoiding Aizawa to keep the rest of their class safe(er), all while avoiding the villains, turncoat heroes and police out to get them. Public support is spotty at best with anyone found ‘harboring a criminal’ given the same punishment as the hero.

Lost soul of last hope

The first wielder has been Izuku’s imaginary friend since he can remember. He’s not very imaginary.

Featuring Izuku with the world’s strangest older brother, Inko coming to the realisation her son can see a ghost, but only one ghost and no one will believe them, Izuku’s quirk being listed as Inko’s because the first wielder can help him fake it, and Izuku wondering why first looks so much like that picture of his father on his mother’s bedside table.

The kids the system failed

100% The 1A run aways au with 1A, Aizawa and Mic being runaways kids of various ages that band together to stay alive and maybe do a little vigilante work on the side.

Izuku has All for One and uses it like you’d expect a traumatised kid to - cautiously at first but when he gets the hang of it there are suddenly no more criminals with quirks in their area, and it looks suspiciously like Uraraka can fly.

Just a second to soon? For the Fic thing?

Aizawa struggles and gets knocked out just before Shigaraki lunges at Tsuyu. She and Izuku are left horribly injured by his quirk with massive facial scarring, and in Tsuyu’s case, the loss of an eye.

Daze

An illusion/fear quirk makes his teachers look like villains and convinces him he’s in danger. They try and stop him without hurting him but it’s difficult considering Izuku is convinced he’s protecting his friends, considering he can only see them broken and bloodied with villains he thought were locked away loaming over them.

Even as Aizawa cuts out his quirk Izuku still tries to shield his friends, snarling ferally.

Morning Glories and Forget-me-nots

A memory quirk of unknown duration hits Izuku, leaving him remembering none of his life. 1A starts to fall apart without one of their pillar’s.

hopeless but not broken

The Long Con au where Izuku asks All Might if he could be a hero without a quirk - he’s really asking if he can stop pretending to be a villain, if he’s worth anything without the quirks he’s been given, if he’s worth something as himself rather than the limited use he can provide. He doesn’t know how to say all of that, so he just asks if he could be a hero.

All Might says no. And Izuku basically decides right then that the only way he’ll ever be able to help people is by being a mole for the heroes like he’s been since he was 10 - that he isn’t worth anything because he’s quirkless and to be considered just as valuable as the people around him are he needs to give his life and more.

He shows up to the bar crying because of All Might and Shigaraki moves his murder plot forward a few months.

Sunflowers and Summer Gardens

All Might starts a garden on campus and 1A like to help. He uses it as a nice place to chill and as physical therapy. He likes to give the different classes bunches of flowers when they sprout.

For Dos and For Donts

Izuku runs into some of his old bullies when out with some of his friends. Uraraka, Iida, Todoroki, Shinsou and Asui intimidate the fuck out of them, and Izuku realises hes not scared of them any more. Then they get frozen yoghurt!

your mistakes, my unbecoming

Aizawa assigns a project on quirk related issues, Izuku ends up with quirkless discrimination, Aizawa assumes his discomfort is just him being upset he doesn’t get to talk about quirks. He doesn’t realise his mistake until he finds Izuku dissociating on the roof.

one and one into the vast

Original Sin AU, All for One and Izuku seeing the vestiges together. One for All sees his brother for the first time and Izuku learns a lot about the voice in his head.

All for One has a mini-crisis about his not son learning he’s a horrific villain, especially considering he has the power to cast his soul out at any time, killing him at will. Izuku doesn’t kill him. He admits its probably not right of him to let AfO remain considering the things he’s done, but All for One is a part of him now and it would be like killing a friend.

All for One quietly decides to hold off on the villainy until all of 1A is dead, for Izuku’s sake.

between the stars of our souls

Izuku and All Might are old gods who keep getting reborn into human forms with their memories regained when they turn 4. Normally finding each other takes a while, and their last reincarnation they never found each other, so this time he resolves to make himself as easy to find as possible, all while saving as many people as he can.

Izuku, aged 4, memories fresh in his head, makes it his mission to get into contact with the man he knows is his father/mentor’s reincarnation. All Might’s agency was not expecting a 4 year old to repeatedly try breaking in to their office, and they especially weren’t expecting him to be so good at it.

you really should have thought this through

Different (and ill-advised) attempts at special moves or team up combo moves. Featuring:

Izuku managing to break Kirishima’s nose.

Uraraka sending Bakugo so high he broke the sound barrier coming back down to earth.

Kaminari and Shouto managing to electrify ice.

Izuku, Todoroki and Bakugo levelling a whole suburb (at least it was condemned???)

I'll Break Anything You Give Me

Different times Izuku desperately tried to repair his relationship with Izuku over the years and the one time Bakugo fully grasps how much he fucked up and reaches out his hand to try to fix it for the first time. Probably includes a lot of screaming, Bakugo learning how to say sorry, a field trip and them having a conversation on Aldera’s roof.

Sinking

One for All kind of possesses Izuku during a quiet night at the dorms. One for All, made of 8 people, 7 of which are dead and had their last experiences in life be rather painful and violent, breaks down, Izuku alone not enough to drown them out. They lash out at anyone who tries to touch them, their quirks tearing Izuku’s body apart.

All Might’s vestige reaches out a hand to Izuku to keep his mind from being torn apart as 1A set about both trying to protect Izuku and get Aizawa who was off campus on patrol.

Feat. Bakugo and All Might being the only people with any idea about what’s going on and getting more and more stressed each second that passes. Iida, Uraraka and Todoroki being good heroes and even better friends. Blood King deciding he’s never watching 1A for Aizawa again, and Aizawa deciding he’s never leaving 1A alone ever again.

A Long Way From Home

Shirakumo wakes up in Kurogiri’s body in Tartarus with only shadowed memories of his time as a villain. He’s scared and alone and he just wants to see his friends again, even if he’s scared they hate him because at least that’s something he knows.

Too Far Gone

The other side AU, it comes out Izuku is a villain with (knockoff) All for One and he has a showdown with Mirio. He and Izuku trained together under All Might and Mirio tries to plead with him but Izuku has to basically tell him to go to hell to not ruin his placet as crown prince of the underworld.

Of course, he’s not only doing this to save people, he’s also doing it with All Might’s blessing - taking over from All Might himself serving as a villain after he killed All for One to prevent a power vacuum.

Doesn’t mean that his friends in 1A know that.

Snowy hills and sunlit peaks

Probably an AU about All Might being a mountain spirit with a little shrine that Izuku is the only one who visits - Izuku gets in trouble and All Might manifests himself, saves him, and tells everyone to keep their hands off his human son.

Wilting

Izuku gets sick and he tries to hide it because he’s scared its something serious but he just gets worse and worse. His friends are the ones who eventually step in and comfort him.

I’d probably write two endings with one being a bad end and the other a good end.

My wish came true without me realising 

Izuku wakes up one morning, comes downstairs and just starts crying. Everyone panics and he reassures them they are happy tears and that he's just glad to be here. They all call him sappy and give him a hug. Later in the day he and Bakugo chat and Izuku reveals he never even expected to live this long, let alone become a hero. Bakugo grumbles that he’s too stubborn to die, and not to get too cocky. Izuku promises he wont.

[thegeekerynj]

All Death Metal Review (And nothing from Sweden!)

Death Metal: Trinity Crisis One Shot 

Writer: Scott Snyder   Artist: Francis Manapul

‘And who are YOU supposed to be? I’ve faced enough Dark Knights that no Batman scares me anymore!

Ha! Then it’s a good thing I’m not a Batman! I’m his MOTHER!’

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Sweet Christmas! That took me by surprise!

Harley kissing Jonah Hex, that was really sweet, and gods awful creepy, and kinda gross,  after the exchange, and some thought…

This is it, Gentle Readers… the Beginning of the End of the Beginning of… Oh, crap, now I’m lost… This is where the story starts rockin’!

The Gang’s all together, and the Black Lantern Bat has determined what they need to do.

The plan? Split up, naturally. That AL-ways works…

When we left them in DM #3, the Lanterns are protecting the Home Base, and taking out the Crisis Energy Antennae on the Earths left in the known Universes, The Flashes are off and running through the Speed Force, trying to find Metron, and stay ahead of the Bathattan who Laughs, while the Trinity (Superman / Antilife, Black Lantern Batman and  Warden Wonder Woman) along with Swamp Thing, Harley, Hex and Jarro, head for Castle Bat, to gain access to the Crisis Earths, where the Crisis Energy is being harvested for Perpetua.

**WHEW!**

Getting into the Castle involves getting past an army of Dark Knights… and we have a bunch of real winners here! 

Bat Monday - Salomon Grundy in Bat ears, I could have busted a gut laughing, until I thought about what kind of weapon a zombie with Batman’s training could be, and shivered…

Kull, the daughter of Batman and Wonder Woman, corrupted by the Dark Universe…

Ark, the living embodiment of Arkham, with all of the knowledge and abilities of ALL her worst inmates…

Chiroptor, the amalgam of Batman and Chemo (Great Elder Gods!!)… 

And the Pearl, Martha Wayne, in the equivalent of HellBat Armor, complete with her iconic pearl necklace.

This is a real mindscrew for Batman, and the panels depict it, most intently.

One nice thing about Scott Snyder… he is consistent about tying up loose ends. Once we are in Castle Bat, we find out what happened to Barbatos, the Big Bad from Dark Nights: Metal. Not that we were actually wondering, since we got Perpetual, and the Batman Who Laughs, but, like I said, it ties up the package nicely.

Then, we are introduced to the character I have been most happily waiting for… the Robin King, and his Utility Belt of Death!

Gentle Readers, this is the story we have been waiting for, the chapter which tells us what the Heroes Plan of Action is, and where the story has been going, for over 40 years. You see, the opening page of this book tells us where this story began… with Marv Wolfman and George Perez, and Crisis on Infinite Earths!

Not to spoil too much, but Crisis, Infinite Crisis, and Final Crisis, ]well… they have all played a part in getting us to this story. It seems, the “Crisis Energy’ has fed Perpetua while she was trapped within the Source Wall, and, now, she wants it all, so she can recreate the Universes in her image.

Great job, if you can get it…

I can’t say enough good things about this story and artwork, as Snyder and Manapul have put together a really tight, hard hitting bottle / lead story, bringing us to the next step in the saga… 

Jeebus on a popsicle stick, I hope no one lets me down… that will hurt!

Out of 5🌶        🌶🌶🌶🌶.5

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Death Metal: Multiverse’s End #1

Writer: James Tynion IV   Artist: Juan Gedeon

‘Mr. Rabbit?

Yes, Young Lady?

Thank you for saving me.

What a kind thing to say! It was so scary out there, and you stayed so brave. I don’t think I could have done it without your courage.

You’re really, really soft.

I use a special carrot shampoo.

———————————————————————————————————

Once upon a time, about a million, bazillion years ago in cranky fat man years, somewhere around 1982, Roy Thomas and Scott Shaw! brought Earth-C into the DC Multiverse, the earth of anthropomorphic animals… yes, they brought Super-Hero Cartoon Animals to the Super Hero Universe.

Our introduction to this Earth was Rodney Rabbit, a comics writing and drawing hare, who created the Just’a Lotta Animals comic by day, and was Captain Carrot, a Superman-esque rabbit, who got his powers from super charged carrots, when danger struck.

But, I digress… because I got really excited!

So, we have teams on the 6 Earths, each Earth holding a tuning fork, focusing the psychic pain energy of the population to Perpetual, powering her attempts to recreate the Multiverse in her image. The Earths in play, Earth - 3 (Crime Syndicate), Earth - X (Nazi Earth), Earth - 29 (Bizarroworld), Earth - 43 (Blood League World) and Earth - 50 (Justice Lords Earth) are all worlds of pain and suffering.

Their energy is the right flavor for destroying, and creating.

The heroes, organized and led by the Green Lanterns of Sector 2814 (Hal Jordan, Guy Gardner, John Stewart, Kyle Rayner, Jessica Cruz, Simon Baz), are working to take down the Antennae before the energy can be fed to Perpetual to power her Cosmic Undoing. 

So, teamed with the Lanterns, we have Hawkgirl, Kid Flash (Earth-22), President Superman (Earth-23), Wonder Woman (Earth-6) and Captain Carrot, all hellbent on stopping the respective Antennae.

The problem… Each Earth’s inhabitants have been laced into the antennae, to directly feed the psychic energy to it..since the energy is effectively terror, well, what better way to induce some? Of course, this isn’t the only problem to be contended with…

Leave it to James Tynion IV to come up with a way to make a villain creepier than the Batman Who Laughs… How, you ask? Well, take the true polar opposite of Batman, and make him realize HE IS what Giggles says he is, and you have an interesting new ballgame.

You see, while the Batman who Laughs is the Ultimate CORRUPTED Batman, Owlman is the Anthesis of Batman, the purest EVIL to the Batman’s GOOD. And he plans to make sure that he continues to be the True Opposite…

Gedeon’s artwork is rough, but considering the story being told, and the pain portrayed by the characters, it fits, perfectly. Some times, I see Joe Staton and Nic Cuti in these pages, a little cartoony, but that’s not a complaint… The story concentrates a bunch on Guy Gardner and Cap, so, it seems to fit (and the art is reminiscent of the ‘A Guy and his G’Nort’ storyline from 1991). 

All in all, a very good story, and a fantastic use of a truly underused treasure.

Out of 5🌶        🌶🌶🌶🌶

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Speed Metal #1

Writer: Joshua Williamson   Pencils: Eddy Barrow   Inks: Eber Ferreira

‘Hey, Flash Family, Is it true a Flash has to die in every Crisis?!’

———————————————————————————————————

And the levels of snark from the Darkest Knight have reached Epic Levels!

The first three pages of this issue give us a rehash of everything  having to do with Wally West, since the beginning of the Rebirth Era, from Barry pulling Wally out of the Speed Force, to Barry and Batman finding the Comedian’s Smiley Face button embedded in the Batcave wall, to the events of Heroes in Crisis and Flash Forward.

The action picks up as Barry, Wally, Wallace and Jay leave the Batman’s Vault, in search of Metron’s Chair, with the Darkest Knight hot on their trails. 

In the Speed Force.

With the Darkest Knight’s presence corrupting the Speed Force, Barry and Wally bickering the entire time, I’m reminded of why I hated the post Crisis Flash… Wally wasn’t mature enough to wear the mantle of Barry’s fame.

Sure, he had the speed, he was even faster than Barry, but he was still the same jealous little kid inside, the one who needed to be patted on the head, the one who couldn’t get on with the Titans, even though he was probably the most powerful of them. 

He was just an immature kid, and here, Williamson dragged that all into the foreground once again.

All so Wally West, the King of the Redemption Arc, could have another Redemption Arc…

Sorry, that did me in. 

The rest of the story is pretty good… the art is wonderful, the Jay / Barry / Wallace interplay is really kinda neat, and all the Black Flashes… well, I’m a sucker for Death icons, so a mass of Death Speedsters, well that’s fun with a CAPITAL F!

But, did we need another Wally gets to whine story?

Sorry, this wasn’t the finest arc of the Death Metal Saga.

Out of 5🌶        🌶🌶🌶

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Death Metal #4 ‘Shot In The Dark’

Writer: Scott ‘Scream King’ Snyder   Artist: Greg ‘The Muscle’ Capullo  Inks: Jonathan ‘Bloodied’ Glapion

“So, ever wonder why you never see A Harley Who Laughs’?’

———————————————————————————————————

And, that Gentle Readers, is the crux of one of those puzzles about this series… Why don’t we ever see more twisted versions of the Villains who infest Earth Prime?

The Robin King (this is the character who rates SECOND on my memorable Characters list, especially with his own One-Shot—— Who’s First?? Time, Gentle Ones in time…) puts the explanation out there, and it is very simple.

And worth the read… But, I digress.

So, Issue 4 picks up with Sergeant Rock describing what has been happening on Earth - Prime, and we finally get to see who has been carrying him around… AMBUSH BUG! Yes, the character that made the Fourth Wall more transparent than an open Anderson window has been carrying Rock around as his own personal narrator…

Which, if you know the Bug, is a joke unto itself.

So, here we go, the ride is picking up steam, and we are now following 6, count’em SIX, separate story lines. A guy could get whiplash, or Bullwhip or some other third rate character… But, I digress.

We have the Trinity storyline, the SpeedMetal storyline, Multiverse’s End, and the Lantern Storyline from the last issue, the Justice League / Legion of Doom story… am I forgetting anything? 

Oh, and of course, the Robin King.

Where to start with this… I guess the simplest place to start is the artwork.

Greg Capullo’s pencils are absolutely wonderful. For anybody who it's to watch the process of drawing I want to watch so he's got a really wonderful touch I recommend Greg Capullo’s Instagram site. As he's drawing pages for these books, he posts the pencils as he finishes pieces of the process . Normally, he has six or seven photo panels showing exactly what he's been doing.  In man cases, this involves crowd scenes, with extensive detail. His work is beautiful, it’s easy to see why he is such a sought after talent.

Jonathan Glapion’s inks on Capullo’s pencils are comparable to Austin on Byrne, and Janson over Miller, Janson over Colan… Enhancing, and not hiding the intricate detail rendered in the pencils, adding that last flash of lightning to bring it all together. The balance struck between them is almost organic, a constant growth between the two, bringing them to levels bordering on the true Classic Art teams of the last 50 years.

I do not make these comparisons lightly

Now, to the story. Scott Snyder is powering a roller coaster with a rocket sled. The coordination between the different aspects of these stories is both intricate and daring. With all the different aspects of this story spinning like plates on sticks, Snyder juggles the plot lines, and what is left to him by the myriad of writers as Emmet Kelly did in the heyday of Ringling Brothers.

His deft touch, and subtle influences are balanced by lace covered sledgehammer blows, leaving the reader reeling, and wanting so very much more.

Scott Snyder, much like Tom Taylor, has pulled out all the stops, cut the brake lines, kicked out the jams, insert favorite euphemism for creating a high speed, non-stop mad ride to Hell!

And, much to my wallet’s chagrin, I am very happy about it.

Now, as it crosses to other books, and other writers pick up the reins, I am sure Snyder will still be the whip hand driving the story, not allowing some of these writers to go too far astray (unless it’s Tom King… then, well Woo Hoooo!)

I can’t say enough good things about this story, or the team creating it. I’m beginning t feel a little biased, but, what the heck.

Out of 5🌶        🌶🌶🌶🌶.5

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Death Metal: Robin King #1 ‘The Robin Who Would Be King’

Writer: Peter J. Tomasi   Artist: Riley Rossmo

‘Aw! Come on, this is the fun part!

Get up and let’s FIGHT!’

———————————————————————————————————

Games, within games, within games…

So, the Batman who Laughs wasn’t infallible.

And the Robin King is going to be the bigger threat to the Darkest Knight than any combination of the Trinity, Flashes or their cohorts.

At least, that’s my takeaway from this issue.

We continue the story of the Robin King, as started in the Tales of the Dark Universe one shot.  Bruce has grown up, and grown into his sociopathy, and genius. He has used the family fortune to get all the training necessary, and to accumulate all the tools, to begin his reign as the true Evil Overlord of Gotham.

Utilizing his accumulated weapons, he has taken out Commissioner Gordon, Firestorm, Animal Man, Adam Strange Blue Beetle (Ted Kord), and the Red Tornado, all in truly spectacular and extraordinarily grisly fashion.

While the Black Hole Implosion for Firestorm was a particularly well thought out death, I think, so far, the ‘Mortal Coil’ Death, for the Red Tornado was the most imaginative… making his powers totally uncontrollable, while moving him closer to his ultimate dream, to be a real person, before his form totally destroys itself from the stresses of his own speed.

Marvelous! Fantastic! Gross!

Enter the Batman who Laughs, with the proposition to make the Robin King special, one of his own…

But, he’s a Robin, so, off to the Groblin Pit he goes!

Hence, his mistake, and possibly another chink in the boiler plate of his plans… since Bruce Wayne is NO Robin!

Peter Tomasi’s scripting for this issue is simply remarkable. The creep factor he brings to this iteration of Bruce Wayne is almost eviscerating. Reading this was painful to my eyes and psyche, feeling the levels of insanity drip off the page, and scratch across my mind like a little bird’s unnaturally sharp talons.

He really hit all the horror factors.

Then, there was the artwork for this story. Riley Rossmo’s artwork set the mood for this story. His shattered pencil / inks style, which can be distracting, was integral to telling this story. It allowed the Reader to view this story as if it were playing out in Bruce’s mind, its all the fracturing being how he is viewing the world.

For me, this story has been the highlight of the series… thus far. I am anticipating this, which is near the midpoint of things, is setting up the Wednesday Night Episode…so, - 

Tune In, Gentle Readers! 

Same Bat-Time

Same Bat Channel!

The Best Is Yet To Come!

Did I neglect there is a B-story, with Signal, Spoiler, Orphan and Red Robin taking on Quietus, the amalgam of Batman Ras’ al Ghul and Duke Thimas, from another Dark Universe, written by Tony Patrick and drawn by Daniel Sampere?

This story brings in a plot line for ‘What’s happening for the Other Bat-Family Elements’, as they try to find their way through Castle Bat’s myriad streets… 

I am guessing we will start to see more of these stories.

I am completely fine with this, rather than having to recap things later…

Out of 5🌶        🌶🌶🌶🌶.5

[scottymcgeesterwrites]

Final Fantasy III Review

Year: 1990

Original Platform: Famicom

Also Available on: Nintendo DS, iOS (DS port), Android (iOS port), Ouya (Android port), Steam (Android port), PSP (iOS port)

Wii/3DS/Wii U Virtual Consoles and Nintendo Classic Edition releases are only in Japan.

Version I Played: DS

Synopsis:

Four orphans (originally only named by the player, DS remake gives them names) fall into a crevice after a sudden earthquake. There, a mysterious crystal warns them about the oncoming darkness that will engulf the world. The four orphans must band together to restore the balance between light and dark.  

Gameplay:

ARE YOU READY TO GET YOUR ASS BEAT?

YOUR BALLS ROCKED?

I’m warning you – this is the most difficult Final Fantasy game to date.

There are no ethers - only elixirs, which you should definitely reserve for the hardest battles. Also, phoenix downs cannot be found in stores - only in treasure chests and as dropped or stolen items from enemies.

The gameplay returns to that of the original Final Fantasy –  turn-based combat and the Job System, only this time the Job System is greatly expanded. Vikings and Geomancers and Bards and Dragoons and the list goes on. Summons are introduced to the series via the Evoker job, which later gets upgraded to Summoner. The expanded Job System allowed for greater customization of your four characters than in the original Final Fantasy.

This game is notable for the Onion Knight. In the beginning of the original Famicom game, the default job is Onion Knight. If you continue playing as an Onion Knight, your stats remain relatively low. However, if you dare to play the entire game as an Onion Knight and reach level 99 – the Onion Knight suddenly turns into the most powerful job in the game.

The DS remake does things a little differently. Instead of the Onion Knight, you start out as a Freelancer – a new job that has a little bit of everything. However, the longer you use the Freelancer job, the weaker you become. This is a good incentive to have players naturally explore other jobs.

The unfortunate feature of the DS remake though is that the Onion Knight is ONLY available after performing sidequests via wireless with friends. This is impossible to do now since the wireless features for the original Nintendo DS (and also the Wii) have been discontinued. HOWEVER. Playing the DS remake through Steam allows you to unlock the Onion Knight by completing at least 25% of your bestiary. You will then receive a message via the Mognet to start the sidequest.

Final Fantasy III is notorious for its high difficulty. The trick mostly lies in constantly switching between jobs and finding the right balance for the right moment. However, changing jobs requires you to level up that job. This means grinding – lots and lots of grinding. Insane amounts of grinding. This is Final Fantasy: Grind City.

In retrospect, Final Fantasy II was hard as well, yes, but more in a stupid way. Leveling up there was annoying but people could find tricks around it like finding weaker enemies and purposely hitting yourself and healing yourself to raise your HP or defense stats.

Final Fantasy III is difficult but it hurt so good. This game turned me into a masochist. There's two types of video game rage - the good and the bad kind. The bad kind is usually because the game's mechanics are irritating or virtually unplayable. The good kind is cursing out loud but then saying, "I'LL GET YOU NEXT TIME!" and actually being pumped about trying again because you see it as a challenge.    

The game has an explosively difficult finale. The finale takes place in the Crystal Tower, which is surrounded by Ancient’s Maze. You have to walk through the maze, then through the tower, then fight multiple bosses through other events which I won’t spoil here. The entire ordeal can pretty well take up an entire hour. At least (in the DS version, I don’t know about Famicom) you can save before entering the Crystal Tower. But if you ever need to venture out into the world map again to get something you forgot, you have to go through the Ancient’s Maze. Once you enter the Crystal Tower, you cannot save the game. It’s one long shot to the final of final bosses. In the Crystal Tower, you get to walk around seemingly endless and maze-like floors such as this:

 YAY.

Seriously though - I still enjoyed the challenge and thought it was epic. If you're going to hit me hard, you might as well go all out. Nothing in this game is held back. Also, the expanded job system allowed you to try out so many different things.

I tried for the longest time to play Final Fantasy III on an emulator but for some bizarre reason, I couldn't save, not even on save states. When I have the time, I definitely want to go back to that, try a different ROM or something, and experience the original. But I played enough of the original to know how hard it is. I died right away when I ventured outside the first town.

The DS remake mostly retains the difficulty of the original, which I admired, unlike the watered down PSP Anniversary Editions of Final Fantasy and Final Fantasy II.

Graphics:

The original Famicom game definitely has a lot more going on than the first two Final Fantasy games. Battles are still 90% black space but the rest of the game is 8-bit Heaven. 

The DS remake is AMAZING. I would argue that Final Fantasy III DS is really the first great Final Fantasy remake. They got a chibi thing going on and it works here. It’s cute without being obnoxiously cute.

The FMV sequence for the DS is staggeringly beautiful.

I also kind of laugh at this one part where Luneth and Ingus are arguing and it’s the equivalent to a stock photo of two people arguing.

I only wish they added an ending FMV. That would have been the cherry on top for the remake. 

Story:

Final Fantasy III is kind of like crossing the original Final Fantasy with Final Fantasy II. The story is wider in scope and more epic. The fictional world is much more interesting. The score has a wider repertoire. You fly many different airships. It also begins what I like to call the "Crystal Trilogy." Final Fantasy III, IV and V, as you'll read later, are quite similar in their general plot, which utilizes crystals as important plot devices.

There’s more to the story than people give credit for. You venture into the world and run into secondary characters who have their own stories, such as Cid, Desh, Princess Sara (reference to the original Final Fantasy), Prince Allus, Priestess Aria, and even four imposters of the four heroes of light. You save towns with a variety of problems, from a village cursed by a genie to finding a missing precious stone for the dwarves. Then you discover the truth behind the world you live in. . .

The DS version elaborates on the story by giving the four orphans names: Luneth, Arc, Refia, and Ingus. This sharpens the story by connecting more dots. The DS story starts with Luneth and Arc as childhood friends. They later meet Refia, a runaway who was tired of her guardian's blacksmith trade, and Ingus, a knight of Sasune who protects Princess Sara. I was disappointed by one rather misleading thing in the DS remake. The opening FMV sequence seemed to imply that Priestess Aria plays a wider role in the story – she doesn’t. That disappointed me.

As I’ve said already, the DS version is a wonderful remake of the original. I very highly recommend it. It enhances everything about the original and more. The remake's heroes hardly get any recognition in other Final Fantasy media and that’s a shame.

Music:

As Final Fantasy games keep getting bigger, so does the score. Uematsu shone here. He did some unique things for a Japanese composer at the time. An example is the illusion of having chords in the track Crystal Cave.

Final Fantasy III’s soundtrack is twice as long as Final Fantasy II’s. I’d say that out of the entire Famicom/NES era, this game probably has the best soundtrack. The battle theme has a sexy bass with more drums added to it. Eternal Wind, the world map theme, is definitely the greatest map theme in an RPG. Period. It truly gives the feel of wandering around a fantasy world.

The DS version reinvigorates the entire score. I loved every second of it.

The way Uematsu composed the final of the epilogue is reminiscent of how John Williams does his finales in the credits for Star Wars or Indiana Jones films. In this case, he references the Final Fantasy Main Theme at the end of the credits.

The result is a wholesome feel to the game. Final Fantasy III has a fantastic score that is perfect for closing the 8-bit era of Final Fantasy.

Notable Theme:

I'm split between Eternal Wind and Priestess Aria's Theme. Fortunately, the DS opening cinematic includes both. It has a great orchestrated rendition of the classic themes.

Verdict:      

The hardest out of all the Final Fantasy games (so far). At the same time, there’s so much to enjoy – but it’s not for everyone. Because of the difficulty, I would save this game for last. There’s something about this game that actually gives me a true “final fantasy” feel. The final stretch is so kick-your-nuts-hard that nothing else in the series can compare to it.

If you go for the DS version, however, that can be a tad bit easier. Just a tad. A smidge. Nothing more. It’s one remake that I highly recommend. They did a good facelift on both the game itself and the story. The DS version was adapted into Android and then ported into Steam, so you can get it there. 

Direct Sequel?

No.