#And then when it gets to the point his audience should have figured it all out; then he spells it out

[the-judicial-assistants-notebook]

why didn't they just use franziska for literally all of this.

[orionsangel86]

I watched X-Men 2000 tonight. Yup the Deadpool and Wolverine brain worms got me - at least for a little while - so I figured I'd rewatch the old movies that I havent seen in over a decade and have basically forgotten entirely at this point.

You know what really stunned me? Even more than the slow pace, serious tone, actual dedication to telling a coherent and interesting story with layers of meaning and social commentary attached to it, as well as a sincerity that's been missing from most superhero films since the MCU was born (thanks Josh Whedon).

Nope, what shocked me most was this:

This is a perfect specimen of a man. Look at him. He's gorgeous. But look at his chest? His arms? He's muscular, he's pretty well toned, he's hairy. He's definitely got a six pack - but it's nicely covered by a healthy layer of fat. His skin is plump, he has a bit of squish to him. He'd probably be great to hug (Jean Grey certainly gives him a good squeeze lol).

When he sits down he looks like his stomach will roll just nicely. Like a stomach should.

I know my point here is obvious. It's just that scrolling the Deadpool and Wolvering tag is basically 50% "oh they definitely fucked in the Honda Odyssey" (yes lol) and the other 50% is just horny posting over Wolverine's topless scene like the entire site suddenly adopted Deadpools horny brain.

I gotta give props to Hugh Jackman for his dedication to turn himself into an actual comic book character - because that's what this new movie does. It gives us a comic accurate Wolverine in practically every way (except for his height lol) the suit is amazing, the cowl was a joy to see brought into live action. The body too though was straight out of a comic book artists male power fantasy.

What I wanted to emphasise was that this:

Is extremely tough on the human body. What I wanna know is how long he starved and dehydrated himself for before filming this scene? How long before they shot this did he last drink some water? Because damn that must have been tough. The oil and the lighting probably help further emphasise the muscle, vein, and sinew definition. It's probably similar to how body builders prepare before a show.

Nothing about body building is healthy though. So in the coming weeks as the whole entertainment industry rides on the coat tales of this movies success, and everyone goes crazy over Hugh Jackmans physique, please don't feel pressured into thinking that his 2024 physique in the movie is remotely realistic - or realistically attractive. Like I get the fantasy sure, but come on. I'd personally rather lie on a cushioned bed than a concrete floor.

Deadpool may disagree with me, but he's a masochist lol.

Oh and whilst I stand by the shade I threw at the MCU above, I think Wolverine's different physiques in the movies is a good standard of comparison for how much superhero movies have changed. Because when superhero comics first started getting adapted I think a lot of the choices made were about how to bring them to live action realistically and believably and the attitude was to try not to make them look ridiculous. The first X-Men movies definitely do this.

It was about bringing the comics to life in a way that fit in our world. But over the years, as audiences got more and more used to comic book movies the movies became more and more like comic books and less like a realistic adaptation of a comic book. Does that make sense? So as the movies attempted to bring the comics to life in a way that was less realistic and more comic accurate, the demands on the actors to sculpt their physiques to meet the standards of comic book art became normalised.

I think Deadpool and Wolverine is the MOST comic book accurate of all superhero movies made in the past 2 decades. Half the time the images from the movie look like they could be literally pulled from the pages of the comic books. The story is convoluted and stupid, the plot is barely there and is full of gaping plot holes and elements that don't fit any past stories. The action is ridiculous, extremely fast paced, gratuitous, and violent to a hilarious level. But it's so entertaining, joyful, exciting, and laugh out loud hilarious throughout.

It reminded me a LOT of my attempts at reading through the Deadpool comics (I've read a lot of them but no where near all of them).

To sum up this rambling message with multiple points, I'll say that Deadpool and Wolverine is a really fun movie that I thoroughly enjoyed, but make no mistake there is nothing real in it at all. It is almost literally a comic on screen. Don't expect anything more than that and you'll enjoy the experience.

[nagitosstolenhand]

i don't like the growing opinion that people are being 'too hard' on deku for his failing to save shigaraki.

i've seen quite a few people complaining that a lot of the bnha-critical crowd are being too mean to deku for getting tomura killed, arguing that it isn't really his fault, and that hes a 16 year old child soldier who's been failed by almost every adult in his life, why should we be putting all of this on his shoulders? hes just a kid after all?

and the truth is, they're right. deku IS a 16 year old boy whos had the fate of the world thrust on his shoulders. but the story itself just plainly refuses to acknowledge this.

the narrative doesn't acknowledge how fucked up having a school that trains literal children how to be combo cop-celebrities is. it only tentatively acknowledges the fact that a universe having combo cop-celebrities is fucked up, and even then the only people who ever point this out are antagonists, who are portrayed and treated in-universe as untrustworthy. the narrative doesn't care how fucked up dekus circumstances are. the narrative treats deku like hes a fucking messiah here to touch the hearts of the evil depressed villains with his magical empathetic heart of gold before they get blown up or just sent to fucking superhell for daring to challenge the status quote.

deku isn't a person. he's barely even a fucking character at this point. he's a plot device, and a mouth piece for the objectively shitty themes bnha is trying to spout. the themes that tell you that if you're mistreated by society and want to do something about it, you're a villain. that disrupting the status quote and refusing to repent to some random teenage boy spouting empty platitudes at you means you deserve to get sent to fucking superhell. the themes that portray people fighting for civil change as mass murdering supervillains. the themes that look the audience dead in the eye and can call deku the greatest hero to ever live.

deku, who barely spared a second thought to lady nagant telling him the truth about the hero commission. who spouts meaningless platitudes about heroism and morality at nagant, and aoyama, and toga and shigaraki, when even the thought that he should question the world around him comes up. who's constantly talked about as this truly kind, empathetic person, but hasn't spared an empathetic thought to literally anyone who is classified as a villain. who listened to every authority figure around him except the ones who asked him to question his worldview. who saw la bravas tears, shigarakis various breakdowns, himikos plead for understanding, chisakis catatonic state, lady nagants truth, and barley batted a fucking eye. deku, who killed tomura shigaraki.

people don't criticize deku for failing shigaraki because they just hate deku. people criticize deku because of what he represents. because hes a mouthpiece for the atrocious morals and themes of this ideologically rotten manga. because any character he had was chopped up to bits in favor of the incomplete husk we have now. people criticize deku because hes the main character of my hero academia. theres nothing more damning then that.

[halfvalid]

Hiii! If its no trouble could I have a zoro and reader fic with the one bed trope? The others know about their crushes on each other so they force each other to share a room? Anyway they end up cuddling and its all cute (the others will tease them forever about it lol)?? Thankss

intertwined ribbons

ABOUT

alternate title: opla zoro makes my hated tropes less hated

rating: general audiences/teen & up

characters: live action!roronoa zoro | fem!reader | live action!nami | live action!straw hats ensemble

pairing: live action!roronoa zoro x fem!reader

word count: 4.9k

description: unbeknownst to you, your crush on zoro is reciprocated. the rest of the straw hats take it upon themselves to get you together by locking you in his bedroom overnight.

tags: strawhat!reader, only one bed, forced proximity, confessions, no use of 'y/n', nami is a true instigator, cuddling, soft zoro, humor

author's note: thank you so much for the request and i hope it meets your expectations!! fun fact i actually used to hate the 'only one bed' trope, so i decided to challenge myself in writing this. and i think it's one of my fave tropes now lol

(you have an inner spirit that helps you make decisions except it’s just nami.)

“I just think that maybe you should stop avoiding him,” Nami started. You bit your cheek, ignoring her as you tied up the last of the ship’s rigging into a careful knot. Nami had been going on for the past few minutes, and you’d zoned out exactly three seconds in, when the name Zoro had first been spoken. Because of this reason you weren’t really listening, so you blinked up at her in confusion. 

“Sorry? Who am I avoiding?” 

“You’re impossible,” Nami grumbled. “And you know exactly who I’m talking about.” Which, well, fair. The math added up: you heard the word Zoro, you stopped listening, Nami continued talking until she realized you’d stopped listening. “Especially since you’re, you know—” she gave you another look, eyes rolling over to stare dead into yours— “Avoiding him.” 

“I have no idea what you’re talking about,” you said innocently. Nami sighed, leaning over to tug the rope dangling from your hands out of your grip. You tried to reach back for it, but she didn’t let you. “Hey!” 

“Yes, you do. Face it. You’re avoiding Zoro.” 

You made a face at her. “I think there are ropes on the foredeck that I can attend to.” 

“No, there aren’t,” Nami answered. “Now stop changing the subject. There’s this wild concept called communication. It works wonders.” 

“Says you,” you muttered, though your arms crossed defensively across your chest. You noticed the action after a split-second and unwound your arms with a scowl. “Look, I just don’t see the point. And I haven’t been avoiding him.” 

You were, in fact, avoiding him. Ever since that dreadful night a week ago when Nami had gotten you tipsy and stuck her hand in your chest cavity fishing for secrets, you’d been avoiding him. The other girl was ridiculously good at prying truths out of you, and during the conversation, you’d accidentally spilled your crush on the Straw Hat crew’s resident swordsman. 

You’d managed to keep the secret for the months you’d been together, wherein the unfortunate feelings had developed, and you should’ve figured once somebody knew they wouldn’t leave you alone about it. Because Nami refused to talk about literally anything else. You’d expected this sort of behavior from Luffy, or maybe Sanji, but Nami? The world was more amatonormative than you'd thought. 

Nami cast you a look. “You’re blushing.” 

“Am not.”

“Are too. What’s the harm in talking to him?” Nami demanded, one hand on her hip as she stared you down. You gaped at her. 

“Um, literally everything? One, Zoro can’t talk about feelings or emotions for shit, so when he rejects me it’ll be in the most excruciating, offhand manner that will probably leave me at the bottom of a barrel of rum, two, after being rejected I’m going to have to leave the Straw Hats, three—”

Nami rolled her eyes, looking increasingly fed up with you. “For someone so obsessed with not telling our resident grass-headed swordsman about your feelings for him, you’re talking rather loudly.” 

You shut up, snapping your jaw closed with a glare. “Stop it,” you hissed. 

“Besides, who knows if he actually will reject you?” Nami turned to work on the next section of rigging, glancing over her shoulder at you. “You’re catastrophizing.” 

“I’m being realistic,” you snapped. “Okay, fine. He reciprocates my feelings. Then what? We date, we break up because all relationships eventually end, it becomes awkward, and—voila—I’ll have to leave the Straw Hats anyway. It’s a bad idea all around.” 

Nami just let out a huff of breath, the exhale laced with irritation. “Catastrophizing,” she repeated. 

“I am not—”

“Sure. Go help Sanji with dinner.” 

You gave her an exasperated look, but at this point Nami wasn’t paying attention anymore, so you stormed off into the underbelly of the Going Merry. Speak of the devil, apparently, because once you entered the kitchen you spotted not only Sanji occupying it but also Zoro. He was lounging at the table, swords strapped to his waist and a bottle of something he was nursing in hand. 

You averted your gaze from him, head running a million miles a minute. Had he noticed you’d been avoiding him? You’d tried to be furtive about it, but if Nami had noticed, maybe—

“Well, hello there,” Sanji called from where he was in the midst of dinner preparations. “Come to help?” 

“Nami sent me,” you said, crossing your arms over your chest. “I think she’s appointed herself queen of the Going Merry.” 

“Oh, she did that long ago,” Sanji chided. “You’re only noticing it now. Pick up a knife, then. I’d like some help dicing the carrots.” 

You stiffly moved over to the counter, ignoring Zoro as you went even as you felt his gaze following your figure. You picked up the first knife you found, positioning yourself in front of the cutting board to start dicing the vegetables already laid out for you. Abruptly, Zoro stood up. 

“Heading out,” he muttered. “Call me when dinner’s ready.” 

With that, he left the room, leaving you and Sanji to exchange looks. “He’s moody today,” you said. 

“Probably ‘cause you’ve been avoiding him.” 

You felt the familiar pinprick of a blush starting to warm your cheeks. “You too?” 

“You’re rather obvious about it,” Sanji said with a raised eyebrow. “But enough of that.” Weirdly enough, he didn’t seem to question why. There was no way Nami had told him, so you were left confused, but no matter. The point was that for now, you were safe. 

The hour dipped to evening, and soon the moon was glowing in the sky, a shining beacon of white amidst the ocean of stars and shimmering sea. You suppressed a yawn, busing the dishes from dinner as the rest of the crew got up from their respective seats to dissolve to their own rooms. Zoro had already retired for the night—if you were avoiding him, he seemed to be doing the exact same—so at least you didn’t have that to worry about. 

“Ah, wait,” Nami said, after you’d finished washing the dishes and was ready to head out. “Zoro wants to talk to you.” 

You jolted, glancing nervously around you before grabbing her wrist. “What did you do?” you hissed. Nami just laughed. 

“Calm down. I didn’t do anything.” Off your glare, she relented. “I promise. And I swear it’s not about feelings or emotions or whatever. Even though it’s obvious you’re avoiding him, you know Zoro wouldn’t say anything.” 

You were still suspicious, but you dropped your hand. “What, then?” 

Nami shrugged, tilting her chin up just so. “I guess you’re going to have to find out.” 

“I don’t trust you,” you muttered. There was that look in her eye, the one she got whenever she was thinking of something truly devious. Still, you couldn’t figure out what she was up to, so— “Fine, I’ll go to his room. Walk me.” 

Nami rolled her eyes, but she fell into step with you as you made your way across the ship. “You should bring it up to him, you know,” she started, but silenced after your sharp glare. “Okay, okay. I get the point. I’ll stop bothering you about it.” 

You stopped by the mouth of Zoro’s door. “Wait, really?” 

“Yes, really,” Nami said with an exaggerated roll of her eyes. She leaned against the wall beside the door, arms crossing over her chest. “I’ll leave you alone about Mr. Prince Charming over there. Knock.” 

“You can't call him Mr. Prince Charming,” you said, though you did knock. “Prince’ is already a title.” 

Nami gave you a look. “Okay, smart-ass.” 

The door creaked open before you could give your response, and you turned, heart pounding in your throat as Zoro stared down at you. His arm was propped up by the open doorway, the other hand still clutching the doorknob. “What.” 

“Um, Nami said that you wanted to talk—” you swiveled your head towards the other girl, but before you could finish your sentence, Nami was raising up your arm and unceremoniously shoving you into the room. 

You shrieked in surprise as you fell into Zoro’s figure, stumbling into him and causing him to lose his balance. Your head shot up in offense, only to see the gleam of a golden padlock in Nami’s hand before she was yanking the door closed.

A dull click echoed through the room. The only thing you could hear for a few seconds was your own heavy breathing and the sound of Zoro gathering himself.

“Did she just—” You gaped at the closed door. “Lock us in?” 

Zoro swiftly pushed past you, jiggling the doorknob for a few moments before giving up. Sure enough, Nami had sealed it with the padlock from the outside, so there was no possibility of either of you getting out of the room. You could vaguely hear sounds from the outside—dull thuds and scrapes—and watched as Zoro started banging on the door. 

“Nami,” he called, voice dangerously low. “Let us out.” 

“Sorry, Zoro!” Your jaw practically unhinged from your skull once you heard your captain’s familiar voice, all bright and cheerful like always. “We’re putting barrels in front of the door, so don’t even try breaking it down. Have a good night!” 

“Luffy? What are you—” Zoro’s knocking quickened in pace, his voice getting increasingly louder. There was no response from outside, though you could hear snickers that sounded suspiciously like Usopp. What was going on? 

You kicked into action, joining Zoro by the door and trying the door handle again. “Nami!” you yelled. 

Nami’s soft laugh came from outside. “Sorry!” she called. “We’ll let you out in the morning.”

You gaped at the door, only aware of Zoro’s gaze sliding down to you as you dropped your hand from the doorknob. There were some more tigers from outside, and then receding footsteps. Zoro tried knocking one last time, but it was evident that the rest of the crew had all but abandoned you. 

“Okay,” Zoro muttered, moving away from the door. “I need a drink.” 

You watched him move across the room, picking up a glass from his bedside table that was only slightly full. He knocked it back in one swallow, Adam’s apple bobbing with the motion. “Um, what now?” you asked uncomfortably. 

“Nothing. Whatever,” Zoro said, turning to glance over at you. After a moment’s thought, you noticed that he refused to look you in his eye—his gaze was firmly trained at a spot beside your head. He turned away, stripping off his sword scabbard and setting them on the floor. 

You glanced around nervously. Zoro’s room wasn’t that different from yours, really—less decorated, but the constitution was the same. There was the bed, a wardrobe, a desk with various paraphernalia across it, and a little couch in the corner too. “You can look through the closet for something to sleep in. I’ll take the chair.” 

The words didn’t register at first, and you were left standing there, staring as Zoro kicked off his shoes and assumedly started getting ready to sleep. “Um, what?” 

Zoro glanced over his shoulder. He still wouldn’t look you in the eye. “They’re not letting us out until morning,” he said slowly. “You can take the bed. Might as well sleep.” 

“It’s your room,” you started, crossing your arms. “I can sleep in the chair. I’m smaller than you, anyway, so I’ll fit it better.” 

Zoro regarded you with such a reproachful look you almost wanted to laugh. “That’s ridiculous. Change.” With that, he turned around, leaving no room for discussion. You stared at him for a second before giving up, moving to his wardrobe and opening it up to search for something to sleep in. 

“So, uh, any ideas on why they stuck us in here?” You asked, although you already knew the answer. Whatever Nami thought locking you in a room with Zoro would achieve, you were stubbornly not going to let her be right. God, you were so going to kill her once you got out of there. 

“Nope,” Zoro said, with such a degree of finality you figured it wouldn’t be safe to question him further. “They’re just stupid.” 

“I mean, I feel like they would have a motive?” You rifled through his clothes, trying very hard to detach them from their owner. Wearing Zoro’s clothes was not something you wanted your mind to linger upon. Eventually you found a shirt of his that would undoubtedly be oversized on you, and you hastily changed into it, satisfied to find it draped well to your knees so you weren’t exposing too much skin. 

You stole a glance over your shoulder at Zoro, only to catch him in the action of peeling his shirt off. The stretch of the muscles in his back gleamed in the dim light of the room, and you tore your gaze away, heat rushing to your face. “Um. Anything?” 

“Nope,” Zoro repeated. Carefully, you closed the wardrobe door, lingering in one spot with your hands clenched together. Once you heard him start moving again, you deemed it safe enough to turn towards the rest of the room. He’d changed into a loose tan shirt, and had settled back into the chair. 

“I said I’d take the chair,” you told him hotly.��

“Yeah, and I said no,” Zoro said, tone dismissive. He had his eyes closed, and you stared at him in disbelief. 

“I’m not sleeping in your bed,” you said, and then, just to emphasize your point, plopped down on the floor. Zoro cracked an eye open and stared down at you. He sighed. 

“Get up. Don’t be stupid.” 

“I’m not being stupid,” you said. “It’s your room. It’s your bed. You will sleep on it. If you’re not giving me the chair, I’ll sleep on the floor.” 

Zoro let out a long sigh, closing both his eyes as if he was contemplating all his life decisions. “I’m not sleeping in the bed, you know,” he said. 

“Okay, so neither of us do.” 

Zoro’s brows creased, and he opened his eyes to glare down at you. “Seriously? At least take the chair, then. I’ll sleep on the flo—”

You gave him a sharp look. “Zoro.” 

“This conversation isn’t getting anywhere,” Zoro muttered, and finally got up from his chair. You glanced up at him expectantly. “What can I do to convince you to take the bed?” 

“Uh, nothing.” 

“We can work out a compromise,” Zoro said with a sigh. “I want you on it, and you want me on it, and neither of us are willing to take it ourselves.” He paused, brow creasing as an idea seemed to form in his head—one he didn’t seem to be a giant fan of, but an idea nonetheless. “How about.” His lips pursed, before he parted them again to finish his sentence. “How about we both take it?” 

It felt like someone had hit you square in the chest, air kicking out of your lungs and leaving you gasping for breath. Your windpipe was all raw, and you had to fight to tear any words out from your throat. “Ex—excuse me?” 

“It’s big enough,” Zoro said stiffly, though his hands were clenched at his sides. “I can take one side and you can take the other. Since you’re so dead-set on me sleeping on it.” 

“I—” You cut yourself off, suddenly far too aware of Zoro’s eyes fixed on you. Watching your every move. Oh, Nami was in for it now. How were you supposed to survive sleeping in the same bed as—you didn’t even want to think about it. 

“Well?” Zoro prompted. 

“Fine,” you agreed hastily, ducking your head lest Zoro catch any of the flush that was undoubtedly rising steadily up your cheeks. It was bad enough you were stuck in his bedroom and wearing his clothes—but this had quickly become your own personal circle of hell. “Good enough for me.” 

“Finally.” With that, Zoro climbed into bed, settling himself on the very edge of its side. Your throat had gone dry, and you stared at him for another second before hurriedly turning away to flick the lights off. You approached the other side of the bed with an extreme lack of enthusiasm, staring at the empty sheets like they were cackling up at you. Stupid, stupid, stupid. 

Eventually you slid into the bed, busying yourself with arranging the blankets around your figure. Zoro’s breaths were steady and deep from beside you. You didn’t know what to do for a second, but then Zoro’s voice was cutting through the darkness. “You’ve been avoiding me.” 

You jolted, then suppressed your sigh. “Have not.” 

“Yes, you have, and everyone knows it, and you’re not very subtle,” Zoro said, sounding almost bored as he rattled off the words. “Why.” 

“I haven’t—”

“Don’t.” 

You ran your tongue along your teeth, sucking at the valleys between them in annoyance. “It’s not important.” 

Zoro paused before speaking, like he was mulling over asking the question. “Did I do something?” 

“What? No.” You shook your head, despite knowing he wouldn’t be able to see. The sound did well enough to indicate the action to him, though—he scoffed, a low murmur from his chest that buzzed through your nerves. “I don’t want to talk about this. You’re giving the rest of the crew what they want.” 

“They definitely did not lock you in here to talk about why you’re avoiding me,” Zoro muttered. Now it was your turn to scoff, because if only he knew. “Are you sure I didn’t do anything?" 

“Positive. It’s all me.” 

“Okay, so why?” Zoro prompted. You swallowed hard, trying to dodge around the subject. “Are you sure—”

“Please just stop talking,” you said, one hand reaching out to grip his arm as if the physical contact would make him shut up. There was a stagnant moment of silence, your breath catching as your brain caught up to your body. Your hand was on Zoro’s arm. Your hand was on Zoro’s bicep, and you were in his bed. 

You cleared your throat, a panicked choke bursting from your lungs. “Um.” Your eyes skittered sideways, and then you finally turned on your side to stare at him. To stare at where your hand was still clutched around his arm.

You could just barely make out the angle of his jaw in the darkness, but you could see it was clenched, the vein along his neck protruding just slightly. Hastily, you removed your hand, the skin of your fingers tingling like you could still feel him underneath the tips. “Sorry. Why—why are you so certain that you did something for me to avoid you?” 

There were a few moments of silence that ticked by, nothing but the rock of the ship interrupting it. Finally, Zoro spoke. “Because the reason they locked you in my room is because—”

“What? The reason they locked me in your room is because of me,” you said. Zoro finally moved from his position, head tilting to face yours so you were eye-to-eye. You swallowed. “Nami, um—Nami specifically forced me in here so I would… talk to you.” 

There was a question evident in Zoro’s voice. “About?” 

Your lips parted, and then closed again. “Um.” 

“We can just sleep, if you want,” Zoro muttered. 

“What if they don’t let us out in the morning because we haven’t talked, though?” you hissed. Zoro let out a low laugh. 

“You realize you’re giving them exactly what they want.” 

“So you’d be more comfortable if we just… fell asleep?” you asked. Zoro shrugged. Since you weren’t exactly averse to the idea of not confessing, you nodded in agreement, heart beating a million miles a second. “Okay. Fine by me.” 

You settled back into your pillow, but soon came to realize that, due to the fluttering butterflies in your stomach and the fact you were very aware of the man of your affections being barely a foot to your right, you could not sleep. Evidently Zoro felt the same way, because he kept shifting around under the blankets—your hands brushed against each other a few times before he jolted away like you’d burnt him. 

“Sorry,” you muttered. Zoro didn’t say anything in response. Somewhere in the back of your head, you could hear Nami hissing at you—I didn’t shove you in a room with Mr. Prince Charming just for you to not take advantage of the opportunity. You tried to get her out of your brain—it was a bad idea all around—but the words kept reverberating around in your mind until you found yourself suddenly speaking. “Zoro?” 

“Hm?” 

“Nami stuck me in here so I would tell you that, um—” 

“You don’t have to say it,” Zoro murmured, and you shivered, his voice sounding suddenly closer. You squirmed, your hand brushing against Zoro’s again, except this time it took him a delayed moment to drift away. He had gotten closer—or maybe that was you, instinctually leaning towards the dip in the middle of the bed when you’d been lost in thought. 

“The reason they locked me in here with you is so I would tell you about my feelings towards you,” you blurted, the words slurring together, consonants and syllables all in one rush. “Because I have them. Feelings, I mean.”

Zoro’s voice was very low when he spoke. “Excuse me?” 

You sat straight up, the blankets previously nestled around your chin falling to your waist. “I have feelings for you and that’s why everyone locked me in here.” 

“I—” Zoro coughed, and then coughed again, ridding his throat of whatever was preventing him from making full sentences. He slowly sat up, and you stared down at the blankets in your lap as you saw him rise to his full height beside you. And oh, this was it. He was about to reject you in the most excruciating, offhand manner that would probably leave you at the bottom of a barrel of rum. “That’s not possible.” 

“Why is that—” you decided to shut up instead of finishing your sentence, allowing him to speak instead. There was a soft burning starting at your skin, all red hot, and your brain buzzed, regret filling up your lungs and making it hard to breathe. 

Zoro didn’t say anything, but you heard his hand before you felt it. It slid across the bedsheets before finally resting beside yours, fingertips grazing against your knuckles. “Zoro?” you whispered. 

“The reason they locked you in here with me is so I would tell you about my feelings towards you,” Zoro said blankly. You blinked. It took you a moment to realize that he wasn’t just quoting you—that he hadn’t switched the pronouns accordingly. Your heart dropped. 

Your voice was very faint when you spoke. “What?” 

“I like you,” Zoro said carefully. Languidly, the words dripping off his tongue all saccharine-sweet like molasses, or honey. You shivered, your hand accidentally knocking against his, and he took the opportunity to draw it in closer, fingers pushing up your palm, just a hair’s breadth away from interlacing with yours. “Luffy unfortunately found out. He doesn’t know how to keep a secret and told the rest of the crew.” 

You gaped at him. “I like you,” you said, dumbfounded. You could feel yourself trembling, fingers sliding against Zoro’s hand with every shake. “Nami yanked it out of me. Which is why I’ve been avoiding you for the past week.” 

“I thought you were avoiding me because you found out I liked you,” Zoro muttered. His fingertips brushed against the pads of your hand, and you swallowed, mouth all dry. “So.” 

You tentatively lifted your gaze, finding Zoro’s eyes even amidst the darkness. They were shining, a slight glint from the moon coming in through the window reflecting along the shadows of his face. Carefully, his hand slid fully into yours, fingers lacing together, and it was like the final piece of a puzzle clicking into place. 

Zoro slid back down onto his back, tugging you along with him. You settled back on your pillow, using your other hand to pull the blankets back over your chest. For a full stagnant minute the two of you lay there, hands intertwined in the space between. 

You were the one who made the first move, then, thumb running up and down the length of his index finger. Zoro ran with the action, tugging your hand just slightly until you were leaning into the dip of the mattress, gravity pulling you closer to his body. 

He lifted your entwined hands, tugging you towards him until your back was pressed right to his chest. Then he settled your arms back down again, the back of his palm resting against your belly. 

You swallowed hard, able to hear the sound of your throat in the utter silence. Zoro exhaled, his breath softly brushing against your neck. “Good night,” you whispered. 

Zoro pressed a soft kiss to the nape of your neck, a ghost of something that left tingles fluttering down your spine, the drunken butterflies in your stomach swaying at the action. “Good night,” he murmured, and your breath caught. 

He was warm, oh so warm, like a campfire with licks of flame that softened your hands in the dead of night. And even though you wanted to speak up, question when he’d started liking you, if he was lying or not—you were content to stay here in his arms and drift off to sleep.

So you did, settling back into his embrace with your head spinning and senses murmuring, all dizzy like you were caught in a dream. Eventually, your tiredness got the better of you, and you felt your senses fading as the world around you darkened to black. 

The two of you jolted awake to the knocking and the very unpleasant hum of Nami’s voice. “Rise and shine!” she called through the door, and you blinked, bleary eyes adjusting to the light as you suppressed your yawn. 

Zoro jolted up beside you, practically giving you whiplash as his arm was still comfortably around your waist. Your fingers tingled, and you realized that you’d fallen asleep with your hands laced together. 

“Nami,” you grumbled, about to rise out of bed before Zoro stopped you. You turned towards him in question, only to stop short as you registered the look in his eyes. His gaze was deep, piercing; those butterflies rose up again in your stomach, apparently awake after they’d passed out from their drunken stupor. You swallowed. “Hi?” 

“Hey,” he murmured. “They locked you in my room.” 

“I’m going to knock Nami over the head with a rowboat oar,” you said blandly, eyes flickering towards the door, which Nami was still pounding on. You vaguely heard shuffling sounds, like the crew were working to move the barrels they’d stuck in front of the door to free you from your prison. “You can have the rest of them, if you want.” 

“I’ll take you up on that offer,” Zoro agreed. “But first…” 

“First?” you prompted. 

Zoro brought your hands—still intertwined—to his mouth, pressing a gentle kiss along your knuckles. “Good morning,” he said, voice low and awkward, like he wasn’t used to letting the words out of his mouth. He let your hands drift to his lap, leaning forward until his forehead brushed against yours.

A faint sigh escaped your lips when he finally kissed you. It wasn’t rough or hard; it was a soft press, like your hands had been just a few hours ago. There was a degree of finality to it; a held-in breath that’d exhaled from your lungs, one you hadn’t realized was building up that much pressure until you finally let it all go. 

The door flung open, and you jolted away, but Zoro tilted your head back towards him before you could. At the mouth of the room, Luffy had started screaming. “Aww,” Nami cooed. Behind her, Usopp and Sanji were gripping onto each other like they were watching a particularly engaging fight. 

A steady blush rose along your cheeks, but Zoro was absolutely shameless, the hand not held in yours raising up to give them the finger. “Get out of my room.”

“Told you it’d be okay,” Nami sing-songed, and then you really did break away from Zoro, picking up the object nearest to you and barrelling towards her. She shrieked, dodging out of the doorway as Zoro laughed from behind you.

“Wait!” she stopped you from whacking your pillow against her head, raising up her arms in defense. “I was right. I saw you two—” 

“Nami,” you started, dangerously low. “You locked me in his room.”

“Yeah, to help you!” she cried defensively, slowly taking backwards steps as you gained on her. “Come on. We can talk about this.” 

“Good luck,” Zoro called out from behind you—you turned around, catching his gaze. He had gotten up, leaning against the doorway and watching you with a sparkle of fondness in his eye. “You’ll need it.” 

You blew him a kiss, ignoring the long groan it pulled out of Luffy from beside Zoro in the hallway. And then you turned around. Nami had darted off, taking the time you’d been distracted to run off. “Oh no you don’t!” you yelled, and then lunged after her with Zoro laughing all the while. 

Maybe it hadn’t been such a bad thing, you thought. But you were still going to beat Nami’s ass. 

© halfvalid 2023

[demontobee]

Good Omens is queering TV/storytelling - part 1: GAZE

I would argue that part of why Good Omens is so refreshingly queer is because it does not cater to the male gaze (which centers around the preferences - aesthetic, romantic, sexual, visual, logical, emotional, political ... - of mainly white men in positions of power):

no oversexualization of groups or types of people: Women or characters that could be read as female presenting are not overly sexualized. In fact, some of them are shown to be grimy, slimy and not sexual at all. All of them are real characters and not just cardboard-cutout on-screen versions of male misogynistic fantasies. They portray real people with real people problems. They are human, or exempt from our categories when portraying angels or demons. There are no overly sexualized bodies in general (as has so far also often been the case with young gay men, PoC, etc.), no fetishization of power imbalances, and not exclusively youthful depiction of love and desire.

sex or sexual behavior is not shown directly (yet): All imagery and symbolism of sex and sexuality is used not to entice the audience but is very intimately played out between characters, which makes it almost uncomfortable to watch (e.g., Aziraphale being tempted to eat meat, Crowley watching Aziraphale eat, the whole gun imagery).

flaunting heteronormativity: Throughout GO but especially GO2, there is very little depiction of heterosexual/romantic couples; most couples are very diverse and no one is making a fuss about it. There is no fetishization of bodies or identities. Just people (and angels and demons) being their beautiful selves (or trying to).

age: Even though Neil Gaiman explained that Crowley and Aziraphale are middle-aged because the actors are, I think it is also queering the idea of romance, love and desire existing mainly within youthful contexts. Male gaze has taught us that young people falling and being in love is what we have to want to see, and any depiction of love that involves people being not exactly young anymore is either part of a fetishized power imbalance (often with an older dude using his power to prey on younger folx) or presents us with marital problems, loss of desire, etc. – all with undertones of decay and patronizing sympathy. Here, however, we get a beautifully crafted, slow-burn, and somehow super realistic love story that centers around beings older than time and presenting as humans in their 50s figuring out how to deal with love. It makes them both innocent and experienced, in a way that is refreshing and heartbreaking and unusual and real.

does not (exclusively) center around romantic/sexual love: I don’t know if this is a gaze point exactly but I feel like male gaze and resulting expectations of what a love story should look like are heavily responsible for our preoccupation with romantic/sexual love in fiction – the “boy gets girl” type of story. And even though, technically, GO seems to focus on a romantic love story in the end, it is also possible to read this relationship but also the whole show as centering around a kind of love that goes beyond the narrow confines of our conditioned boxed-in thinking. It seems to depict a love of humanity and the world and the universe and just the ineffability of existence as a whole.

disability as beautiful and innate to existence: Disability is represented amongst angels by the extremely cool Saraqael and by diversely disabled unnamed angels in the Job minisode. Representation of disability is obviously super important in its own right, but is also queers what we perceive as aesthetically and ontologically "normal". Male gaze teaches us that youth and (physical and mental) health are the desirable standard and everything else is to be seen as a deviance, a mistake. By including disability among the angels, beings that have existed before time and space, the show clearly states that disability is a beautiful and innate part of existence.

gender is optional/obsolete: Characters like Crowley, Muriel and others really undermine the (visual and aesthetic) boundaries of gender and the black-and-white thinking about gender that informs male gaze. Characters cannot be identfied simply as (binary) men or women anymore just by looking at them or by interpreting their personalities or behaviors. Most characters in GO, and especially the more genderqueer ones, display a balance of feminine and masculine traits as well as indiosyncracies that dissolve the gender binary.

Feel free to add your own thoughts on this in the comments or tags!

[randomness-is-my-order]

been seeing alot of discourse ensuing in the fandom about the pjo tv show and here’s the thing: there is alot of impetus about what the show didn’t get right but isn’t it absolutely amazing how much the show did get right????

yes, gabe is a bit different. yes, annabeth didn’t show percy around camp. yes, grover snitched on percy. yes, ms. dodds transforming could be a bit underwhleming.

BUT

we also have this: percy being an actual kid with sarcasm and sadness and anger and trauma. he’s not one-note. he’s just trying his best and his inner conflict is so painfully and wonderfully portrayed. grover being a nervous wreck at times but also sweet and earnest and guilt-ridden and brave in his own way. annabeth being a little girl wise beyond her years, with a stoicism that feels like something she was forced to practice and the spark of a dream driving her actions. luke being a likeable teenager with actual empathy towards percy which will drive home his fall from grace that much deeper.

chiron being a mentor figure who still makes questionable choices and can’t always say the words percy wants to hear, despite his best intentions. mr. d being an asshole who is still likeable, if only for his humor. sally jackson being a fierce mother with both tenderness and strength, who isn’t perfect but might as well be in percy’s eyes. clarisse being the unpleasant bully that she is, with all the rage and pettiness that she held within when we were first introduced to her yet with the promise of something more.

camp halfblood’s set and the cinematography deserve their own medals. they’re quite literally perfect.

soooo, where i’m getting at is this:

i don’t believe that all criticism pointing out inconsistencies with the books is just nitpicking. alot of it is well thought out and politely presented, too, and i think it’s important to point it out so the showrunners know where they went wrong and can try and rectify those errors–however small or big–in the next season. at the same time, undermining the entire show, discounting all the efforts made to remain faithful to the source material just because they strayed from a storyline that didn’t land as well as it could have–that’s a bit overblown, yes?

like it is an adaptation, not a word-by-word recreation from page to screen. of course, there will be changes because some things in a book don’t always translate well in a story told on the screen. for me, most changes aim to enhance rick’s work, not undermine it or take away from it in some misguided attempt to appeal to the larger audience like the movies did.

at the end of the day, it is very important to recognise the 90% of the show that depicted our beloved scenes from the book as faithfully as possible instead of constantly criticising the 10% of it that changed directions for a certain end goal that serves the screenwriting for a tv show. there can be balance of both praise and criticism and i’m very much in support of people pointing out genuine problems with the storytelling of the show but these conversations should also try and acknowledge the myriad of aspects in which the show excelled. like just the fact that i get to see so much of my imagination take form in front of my eyes, through a screen, with so much of the same authenticity that the pjo books are inlaid with–that’s genuinely mind-boggling to me.

[jinnie-ret]

9th member reader passing out on stage during tour because theyve been pushing themselves hard for the tour. forgetting to eat sometimes, pushing themselves in the gym, pushing themselves during practice (not in a punishing themselves way just a getting caught up in the work and not realising how harsh theyre being on themselves way). it all just gets too much during a concert and they just drop, maybe one of the boys catch her before she can hit the floor too hard. the boys beating themselves up a bit for not noticing how hard they were pushing themselves.

don't push yourself

stray kids x ninth member!reader (platonic)

genre: angst, fluff

content warnings: reader not taking care of herself

word count: 2.1k

summary: you thought you were doing the right thing for yourself, but it was only a matter of time before your habits became unhealthy, and the boys didn't even notice until it was too late.

Here it is! I hope you enjoy it! :))

Asks are currently shut!

But let me know if you would like to be added to my taglist and reblog if you enjoyed! <3

MAIN MASTERLIST

With an early rise, there was bound to be a fall at some point.

Whether that was into your bed, when you finally returned back to the dorms from a late night practice; on the sofa of Chan's studio; or to the stage floor of the concert you were rehearsing for.

But we'll get to that later.

The boys hadn't noticed at the start what you had been doing to yourself. You were being more strict with your diet, going to the gym every morning with Changbin, and staying longer at practice. They just saw it as you being their fellow determined member who was trying to improve your health.

And yes, you were seeing improvements, quickly, in fact. But it wasn't healthy. Not that you knew that.

"You should have seen her! She lifted 70kg today!" Changbin boasted with pride, arm wrapped around your shoulders as you both returned from the gym.

Han and Hyunjin had been eating breakfast in the kitchen upon your arrival, so it was the perfect audience for Changbin to show you off to. Chan was probably already at the studio.

"70kg?! I think you can lift more than me now... I can't even lift a spoon," Han laughs.

"Our Han is so squishy," Hyunjin said in an over the top voice and started poking his stomach and arms.

"Yah! Yah!" Han laughed loudly as he shoved Hyunjin away, all four of you laughing.

"Come on, Y/Nnie, show us those muscles of yours," Hyunjin made grabby hands towards your arms, so in return you tensed.

"Woah, your muscles are so big now!" Han's eyes widened.

"Yes I'm secretly training to beat you all up," you did your best to tiredly joke.

"Not much of a secret, plus, you could never beat me," Changbin smirked, ruffling your hair as he went to take a shower.

"Wanna test that theory?" you called after him, pretending to march along the same path he took to his room.

It was easier then, to joke around and act like everything was normal, because you were yet to spiral.

"Y/Nnie? What are you doing here?" Jeongin questioned confused as you walked into the apartment he shared with Seungmin, Felix and Lee Know. You must have not only grabbed the wrong key, but walked back from JYP to the wrong apartment.

"Huh? Innie? Oh, I must have gone to the wrong place," you mumble tiredly, putting your bag down nonetheless.

"You look exhausted... it's 1am! What are you doing up?" Jeongin stood up to analyse your tired figure, one that had also changed from you becoming stricter in yourself.

"I just came back from practising... what are you still doing up?" you looked up at the maknae, poking his cheek lazily.

"From practice? At this time? I was just watching some show on TV," he shrugged, tugging you to sit down next to him.

"What's going on?" a sleepy Felix rubbed his eyes as he entered the lounge, jumping back slightly when he noticed you were there.

"I'm not that scary looking am I, Lixie?" you managed to tease, your head rested against Jeongin's shoulder.

"No! No... I was just shocked to see you're here, why aren't you at the other apartment, did you have an argument?" Felix joined you on the sofa, stealing some of the blanket you and Jeongin had.

"She's so tired she came back to the wrong place," Jeongin laughed, rubbing your head.

"Wah! Y/N you're the first to do that out of us all!" Felix giggled.

"Shouldn't have given me a spare key," you yawned as you stretched your arms, wincing when you did so.

"I'm glad we did by the looks of it, did you push yourself?" Felix brushed some hair out of your face after seeing your pained expression.

"No, no, it's nothing like that..." you trailed off.

"Then what is it?" Jeongin began, "if you didn't push yourself then what is it? Did you not get any sleep last night?"

"I guess so..." you complied with his theories in aid of not having to reveal what you had really been doing.

Surely this wasn't a bad thing though? The concern in their voices was beginning to make you feel differently but you know you were only doing this to better yourself.

"Ah you need to be more careful," Felix tsked, pulling the blanket tighter around you.

"You can't burrito me to death," you tried to fight against the Aussie that was currently swaddling you.

"Oh, but I can."

Another night, you were back at your apartment (the right one) and were currently cooking yourself dinner as everyone else had already eaten. With a pyjama vest and shorts on, it was weird to think how you hadn't noticed the bruises that painted your muscles.

"Ah you're awake now, wait, what happened?" Chan entered the kitchen, happy to see you were awake but alarmed at the sight of your arms.

"Huh? What do you mean?" you questioned as you chopped some veggies.

"Your arms, they've got bruises, lots of them, what happened? Did someone do this to you?" Chan interrogated you all of a sudden.

"What?! No!" you glanced down at your arms and sighed, no wonder they ached so much. "I've just been working out a lot more."

"This looks like a hell of a lot more, you sure you're taking it easy? I mean, I know you go to the gym with Changbin now but that doesn't mean you have to try and match him," Chan sighed, unable to take his eyes off of the purple marks on you.

"Hey, my eyes are up here," you laughed, nudging Chan.

"Y/N..." he sighed, not in the mood for joking around when he could see that you were hurt.

"Chan, it's fine. My body just probably isn't used to it yet, but look, I'm sticking to a good plan, I've got veggies and chicken breast in so I'm getting in my gains like a proper gym bro," you laugh.

"Well, I'm glad to see you're at least eating, just, take it easy, yeah?" he smiled then, patting your back as he returned to presumably his room.

You thought your mind was getting stronger, but your body was getting weaker. Practising had taken priority over your eating.

"Let's go one more time," Lee Know instructed everyone, watching the moves of his members with sharp eyes at the mirror as he danced at the front.

And to your disdain, you stumbled.

"Shit," you put a hand to your forehead, feeling disappointed in yourself.

"Our Y/Nnie can't keep on her own two feet," Lee Know teased, but upon seeing that your expression didn't change at his light-hearted joke, he came over to you.

"Hey, it's ok, I was just kidding," he tried to bend slightly to look into your eyes.

"Yeah, yeah, I just, wanna get it right, you know?" you sighed.

"I've seen you perform this dance amazingly multiple times, don't be so harsh on yourself," he nodded at you before returning to the front of the mirror.

But how could you not be harsh on yourself when everything needed to be perfect?

"Woah, I'm impressed, I've never seen you got a note like that!" Seungmin applauded you on one of your duo vlives.

Fans flooded the comments spamming hearts and mentioning how impressed they also were at you, being a rapper of the group, hitting high notes.

"I've been practising," you waved him off, hiding your face shyly

"Yeah, with who? Ailee sunbaenim?!" he tried to peek at your hoodie covered face.

"Woah you can't compare me to Ailee sunbaenim!" you laughed at him.

You continued to sing together, yet at the end you were getting breathless. And so, after the vlive ended, Seungmin couldn't help but bring it up.

"You sounded pretty breathless at the end..."

"I know, I know, I need to do better," you sighed.

"No it's not that! I'm just a bit worried about you..." he brushed off your doubts.

"Why? I'm fine," you shrugged him off.

"Ok, whatever you say, just take care of yourself, yeah?" he allowed you to brush away his doubts the same way he did to yours, as you both left the company.

And so this cycle of constantly trying to go past the boundaries of your limits continued. All the way into your second concert of your Maniac World Tour.

It had all been going so well. Everyone was on an adrenaline rush and loving the crowd's support. Apart from you. Your body was slowly but surely bound to shut down eventually, you just wished it didn't happen with your stays so happy, because you knew as soon as you hit the floor, you would have taken that away.

"Y/Nnie!!!" screamed the fans as your body slumped and didn't get back up.

The members instantly turned to where you had been performing. It hadn't even been a high energy choreo, because this time, you were simply moving around the stage to interact more with the fans.

You would have scolded yourself if you had a single coherent thought in your exhausted state.

"Somebody help!" Chan worriedly waved over some staff from backstage as they lifted you off.

"Please excuse us stays, everything will be ok, we will be back with you in a moment," Lee Know hurriedly tried to calm the crowd of tearful stays before rushing after his fellow members who surrounded you.

"Come on, Y/N, wake up," Hyunjin patted your face, trying to help you come back to reality.

"Hmmm," you groaned, a pounding feeling in your head.

"Oh thank God!" Han sighed in relief, hand on his quickly beating heart.

"What happened?" you mumbled tiredly as you were sat up by two staff members who fanned you and handed you some water with a straw to sip from.

"You just collapsed out there!" Felix said with wide eyes.

"Oh," you simply said, not wanting to confront what could have happened to you.

"Oh? Just, oh? Y/N, what happened out there?" Chan sternly said from next to you, squeezing your hand to offer reassurance despite his strict demeanor.

"I don't know... One second I was talking to the fans and the next..."

"You... you haven't been taking care of yourself have you?" Hyunjin burst out with his question, unable to hold back his words no longer.

"I have, I've been going to the gym, I've been practising hard-" you began, before you were cut off.

"How didn't I realise?" Changbin pinched the bridge of his nose.

"Realise what, hyung?" Seungmin asked curiously.

"Y/N, please tell me you've been eating and not living off of those energy drinks I see you have every morning," Changbin crouched down in front of you, begging that he was wrong in thinking that.

"Yeah, I ate dinner, umm, it was when, ummm," you stumbled on your words, unable to remember the last time you ate a proper meal.

And that is when you felt like you failed. You had been doing so well but you couldn't even stick to your plan.

"You can't even remember when you last ate?" Lee Know looked around at the concerned gazes of his other members.

"I'm sorry I don't know why, I... I just wanted to do better," you bit your lip, trying to hold back your tears.

"There are so many better ways to go about it Y/Nnie," Jeongin sighed, rubbing your knee soothingly.

"I'm sorry we didn't notice," Felix said regretfully.

"No, no, please don't apologise, this is on me," you mentally kicked yourself.

"How long, Y/N?" Chan insisted on your response.

"Maybe... 2 months?" you wondered out loud.

They all gasped and shared different responses at your answer.

"Y/Nnie that's not good for you, no wonder you were seeming more tired..." Hyunjin looked away.

"I'm sorry, I really am, I never wanted to worry you all," you apologised sadly, and that is when some stray tears fell delicately down your cheeks.

"We will always worry, you're part of our team," Seungmin bluntly said, yet you could still see the compassion behind his eyes.

"Don't push yourself so hard next time, yeah? Let us know next time and we can help you figure out a way to do this more healthily, just talk to us next time, yeah?" Chan wiped your tears away as Changbin wrapped you in a hug you didn't realise you needed so badly.

"I promise," you whispered, yet everyone heard it amongst the sounds of the crowd, and if they didn't, they still felt the words hanging in the air, a vow that next time, you would take care of yourself, and that they'd always be there to take care of you too.

tagged: @skz-streamer @han-jiquokka @hannahhbahng @backintomykpopphaseagain @sakufilms @kiraisastay

[ohnoitstbskyen]

Hi Skyen, hope you're well! I'm seeking some advice and since you used to work doing mainly art commissions I figured asking you was worth a shot.

I'm a furry artist and I'm looking into doing commission work as a side gig while I finish animation college, and hopefully acquire enough experience/clients/notoriety to turn it into a full time job once I graduate.

Do you have any advice for someone literally just starting out with fresh accounts and zero following? Especially when it comes to reaching people and getting your first clients, and anything that one should take into account when working with NSFW specifically. Also advice for pricing your work is always useful 😅

No need to answer obvs but I'd appreciate your viewpoint if you want to share!

Got 2 asks on this exact subject so I'll write up what advice I can. One big caveat: I haven't worked as a commission artist for like half a decade at this point, and this job has a tendency to change fast, do not take anything I say as gospel. This is advice from a limited perspective, be critical of what I say and trust your peers and the people you are in community with before you trust me.

building audience

Step one is getting people to notice the artwork you create. Literally nothing else can happen until you have eyeballs on your work, and the most consistent and reliable way to make that happen is fanart. Ideally you'd want to produce fanart in a fandom you are personally engaged with and passionate about and familiar with, and which also has a sizeable community whose attention can help you build recognition and a base of followers.

This isn't always possible, and there's many a working artist who creates work for fandoms not out of deep personal connection, but because the fandom is large and relevant and a good way to capture the goodwill of algorithms and content feeds.

This approach has some downsides. For one, genuine fans can usually tell when someone's engagement with Their Thing is shallow, and for another it can be deeply creatively exhausting to chase the algorithm. I don't recommend this approach, but it is a valid means of building a business.

Another important consideration, especially when you are early in your career, is that volume tends to trump quality. Every artist will eventually learn that their shitty joke-doodle they sh*t out in ten minutes on a whim will get a billion reposts, and their complex personal work that took eight weeks to finish gets 2 likes from their closest mutuals and a comment from a bot saying "wow!"

In the age of the algorithm, what machines and for you pages value is a consistent, high-volume of output that generates user engagement. You will generally get further, faster, by producing a lot of work than you will producing great work. Again, this can be rough on your mental state, and a fast way to burn the fuck out, so please be careful and mind your health before all else.

The best way to build something that will last is to build your audience in communities and around fandoms and themes and ideas you genuinely care about and enjoy exploring and interacting with. Being your authentic self and creating work from your authentic interest is generally both healthier and long-term better for your career than trend-chasing. Treat trend-chasing and volume > quality output as tools in your toolbox, as creative and business decisions you can make to achieve a specific purpose, never ever EVER let them become the center of your praxis or your philosophy. Never ever EVER allow the Numbers™ to be your source of validation and accomplishment.

building business

Ok, so you've got eyes on your work. You've got some followers. How the hell do you get them to commission you?

Well, again, by demonstrating a capacity to create kinds of art for which there is demand. In the furry community, there's brisk trade in things like ref sheets and character design, for example. For most fandoms, ship art is a product which tends to be in demand. Being able to do really good expression sheets is a marketable skill. Being able to create compelling and clear emotes for streamers and creators is a marketable skill.

Showing the capacity to work in a wide range of styles is valuable. Showing the capacity to work in a wide range of genres is valuable. If you can do both comedy and romance your appeal expands. If you can do shonen-like action and angst as well, it expands again.

Equally, being incredibly good at a specific niche is valuable as well. Focusing hard on an under-served niche of work can give you a lot of opportunities to be the Go To person for that specific kind of thing.

Perhaps the hardest part of all of this is marketing yourself. Not only showing that you have the skills, but actively informing your audience that you are available, eager and willing to practise your skill for a fee. You have to sell yourself. It sucks, but you have to do it. You have to advertise what you can do, and you have to suffer the rejection and annoyance that comes along with doing that.

You have to ask people to commission you. You have to raise your hand and demand attention. It's not fun, but it's business.

Walking the line between self-promotion and being a person is hard. I can't help you that much with it, it's a very personal balance to find. Stay in touch with your soul, but kill the part that cringes at yourself.

Ultimately, you best marketing asset is your portfolio. Every time you do work, show it off. Repost it, retweet it, spread it around. If someone is happy with what you've made for them, do your best to make sure that other people see that happiness. Ask your clients (politely) to tag you when they share your work.

Oh, and for the love of god, sign everything you create, slap watermarks on anything that's likely to get reposted, and make it impossible for someone not to find your business email on your profile.

building network

If you're a commission artist, you are in community with other commission artists. You share interests, you share experiences, you share needs.

Practise solidarity. Absolutely seek out professional peers to help your business, but equally seek out opportunities to help them with theirs. If someone comes to you for art and you don't have commission slots open, point them at a colleague who you know can do the work too. Gas up your peers and spread their work.

Be a symbiote, not a parasite. Respect the craft of your peers, and don't chase celebrities and big names in the hope of coasting on their coattails. It will fail.

smut

If you're a working artist, at some point you have to reckon with smut and r34.

These genres are excellent sources of income, and fertile ground to build a business and network of customers. BUT. Do not ever make the mistake of thinking that they are "the easy way" or a shortcut. Do not ever make the mistake of thinking you can simply offer to draw tiddies and rake in the cash.

It's work and graft same as literally any other form of labor, it's challenging on both a technical and creative level, and the audience can sense if you're looking down on them. If you approach this from a position of shame, of "eugh, I'm debasing myself by doing this for rent money," it will not work, and you will lose standing and respect in the eyes of every peer whose support you need to succeed.

Just as in all other forms of creativity, if you treat the audience as morons who will slurp up whatever slop you serve them, then you will attract clientele that agrees with you, and you will deserve the misery they will inflict upon you.

If you are going to work in smut, establish your boundaries and enforce them. Know that good clients will feel safer and more comfortable with an artist who clearly states their red lines and earnest interests than they will with someone who tries to attract more clients by pretending to be open to work that they are actually uncomfortable with.

Never, ever, EVER let a client push you to create work you are not comfortable creating. It scars your soul in both the short and long term.

Also, when working with this kind of content, know the rules of payment processors and know how to hide the nature of your business from them. PayPal should never, EVER know the details of the content you sell with their service. Frankly, neither should your bank, most likely.

Look to your peers for advice and best practises about this. And be meticulous about your bookkeeping.

money

I want to tell you to charge at least minimum wage for your time. I want to tell you to charge substantially more than that, because your labor is specialized and highly skilled.

But the economic reality of commission work is that there is a crushing downwards pressure on the labor price of art, which has only been made more devastating by the rise of generative AI, and especially when you are a young artist just starting out, you're going to find yourself in a position where charging even minimum wage for your time will turn away a huge proportion of your potential customers.

Again, your portfolio will be the greatest argument for the value of your work, but you have to build that portfolio first, and very often that means doing a f*kton of work for not remotely enough pay until the pressure of demand finally works in your favor.

I don't condone or justify this state of affairs. It is horrid and I hate it, but I don't know how to fix it either.

Making a living from content creation of any kind requires you to get lucky, on top of working obscene hours and foregoing rest and vacations. It's not a safe or sensible plan for a career or paying your bills.

My sensible advice is to get a "normal" job you can survive doing, and do your creative work on the side, and resign yourself to the possibility that the creative work may never actually pay your bills.

And that is soul-crushing, but I cannot stomach pretending that hard work and gumption will guarantee anyone a decent living if they just try hard enough.

There are people who are better at every aspect of my work than I am, and they struggle harder and work for longer, and they will never see half the success I have, because I happened to get lucky, and they happened not to. It's wretched.

I'm not telling you not to chase your dreams. I'm telling you to do it with your eyes open, and with compassion for yourself first before all else.

All of this to say: I can't tell you what to charge for your work. It depends on everything from your competition to your niche to your genre to your community to your economic situation. You have to figure it out on your own.

All I can tell you is never forget that your work is worth more than the market will let you charge, and to raise your prices as soon and as much as you can. Try to reach at least minimum wage for your time as fast as possible.

in conclusion

Again, I haven't been a commission artist full time for a long time, please do not take any of this as gospel. Listen to your peers before you listen to me.

But trust me about the solidarity. It will save you when all else fails.

[skyeslittlecorner]

Hello! I hope you're having a wonderful Halloween!

Will it be all right if I request the WHB King's reactions to MC wearing One of those sexy Halloween costumes (any of your choice!)

You're writing is extremely well done And I really enjoy reading your work!

Have a nice day or night :3

Hello! And thank you! And yes, and thank you! I'm writing this answer early, because the time it's posted, I'm probably sitting with family and friends. Hope I can brighten up your three minutes with my silly ideas 

HAPPY HALLOWEEN!

You came to Satan in a mummy costume, covering strategic places with bandages. He is delighted. For this joy he will kick anyone who looks at you, and he will want to take you here, now, in this corner, on this wall. The bandages you wore will grow to the status of relics. Satan will tie them around his wrists for difficult fights, and small pieces will be used to tie the most seriously wounded warriors, as a reward and support in healing.

Mammon won't be able to take his eyes off you when he sees you dressed as an Egyptian queen. Dripping with gold and silk, half-naked, combining inaccessibility with luxury... This will be Tartaros' favorite Halloween, because Mammon will take you on his knees and open up the throne room, accepting audiences for ordinary devils. Let all the devils see how beautiful and powerful their queen and his Master is, before he takes you to his chambers to ruin your expensive makeup.

Leviathan will be disgusted when he sees your exposed shoulders, tight corset and short skirt with a deep cut if you dress up as a pirate. What kind of idea is that? And that knife on your thigh. You want to fight with anything? With this? Foolish human. As a pirate, you should be ready to fight a kraken... and he can show you how dangerous and big the tentacles are.

You know those edible bracelets made of powdered candy? This is what the bikini Beelzebub will send you is made of. Only there will be less candy than on this bracelet. So that you can somehow go out on the town, you'll throw on his coat and tie it tightly around your waist. Improvisation is all you have left. You grab your markers, open the phone gallery and in the mirror, sloppily, scribble words on your body; Beel's tattoos. You'll steal Bael's glasses, and voila! Avisos, don't count on seeing your king, because when he sees you, he'll get obsessed. Do you want to be his so much that you're dressed up as him? Do you miss him so much? Come here. All you'll see for the next few hours is him and his clones; he'll point out every mistake in your tattoos and make you learn them by heart on his own body.

For Lucifer, you really tried your best with the makeup. You came in torn clothes, with fake wounds painted all over your body. The poor devil almost had a heart attack when he saw you. He rushed to check which of them were real, and when it turned out that none, you only heard a quiet whisper and felt a warm breath on your cheek. "Not very convincing." he muttered disapprovingly, as if he almost didn't panic at your sight. "I'll help you make them better." He licked his lips. Looking at his sharp fangs... your makeup can't compare to what they will leave.

For Belphegor the sexiest thing you can do is dress up as a mattress, but he guesses that wasn't the purpose of this event. You put on a sexy outfit, drew some card designs, and slid some cards and dices under your clothes and into ruffles. You decided to present the devil with a fait accompli. Took his favorite dice and threw it under your bra. "Oops." You spread your hands as if you hadn't done it on purpose. "I think you lost something?" Although initially unfazed, you quickly motivated him to search... even though your ornaments would soon be the last thing he was interested in.

Asmodeus was hard (as always) to figure out… so you decided to ignore him completely and just have fun. Let's test our king. Will he really think you're sexy in *everything*? Even if you dress up as an inflatable T-Rex? You were already excited when you found out that there was no such thing in hell. Sucks. Annoyed, you decided to tease your king. With Eligos and Paimon you spent a good few days, preparing a tight black dress, a curly wig, and specific makeup. To them, you looked simply sexy; but when you stood before Asmodeus, made up like Lust, his eyes widened. After all, he’s a man of culture who spends most of his time on Earth. “Sassy.” He smiled menacingly as he ran his finger over the tattoo between your collarbones. “Do you want to mock me or please me? Oh, well… Guess I have to ignite you.” Others better appreciate your creation before he sees you, because there will be absolutely nothing left of it.

[tiffanys-aus-and-headcanons]

Terrible Visions

A scrambled timeline is a timeline that has proceeded much like ours, except that some particular facet has been mixed up all over the place. For example, in the scrambled timeline we will consider today, our world's fictional stories have been told by different people, and in different ways.

Bryan Lee O'Malley, in this alternate timeline, is best known as the cartoonist responsible for Homestuck, a popular comic series about a group of children who become embroiled in a cosmic-scale video game known as Sburb. Although Homestuck is probably most often associated with the cult classic Edgar Wright-directed film adaptation released in 2016, the comics themselves are highly-regarded, and the film brought a new audience to them. Netflix has commissioned an animated continuation, The Homestuck Epilogues, which is due to be released soon.

Andrew Hussie, on the other hand, is a figure you're likelier to know if you're overly online. His "MS Paint Adventures" series - most notably including Scott Pilgrim Vs The World, which is kind of like Homestuck but weirder and hornier - have firmly remained a fixture of obsessive Twitter fandom culture. It doesn't help that the best-known iteration, Scott Pilgrim Vs The World, is infamous for stretching thousands of pages of meandering digressions out of a simple and focused narrative starting point. Scott Pilgrim fans have developed something of a toxic reputation, which is not entirely deserved - although of course Knives discourse is interminable, and back in the fandom's heyday there were reportedly incidents of fans assaulting each other "for being evil exes".

Scott Pilgrim fandom was very big back in the day, though, and consequently it was a nexus for other creative figures who would go on to surpass Hussie. Perhaps foremost among these is indie developer Toby Fox. He was literally living in Hussie's basement when he produced ROSEQUARTZ, a universally-beloved retro Goonies-like RPG about a human hybrid boy born to a race of gem-based aliens. He's now developing an episodic spiritual successor, RAZORQUEST, with more overtly dark themes. It revolves around an inheritance dispute among a demon-summoning family.

Other foundational figures in this timeline's internet culture include Alison Bechdel, who helped get the webcomic scene started. Although she's now more seriously acclaimed for her personal memoirs, her gaming webcomic Press Start To Dyke, which premiered in 1998, was once everywhere. It had a broad appeal, and at its height, it was common to see even straight guys sharing pages from it. Time has not been especially kind to it, though, and at this point its main legacy is test.png, a meme spawned by one of the comic's most ill-advised pages.

Then there's John C. McCrae, more often known by his pseudonym Wildbow. A prolific and reclusive author of doorstopping "web serials" - long-form fiction published online - McCrae's best-known serial is still his first, Wind, a noir superhero story set in an alternate history where capes are mostly just a subculture of unpowered vigilantes. Wind landed in a culture already rife with comic book deconstructions, like Alan Moore's 2002 graphic novel Worm Turns, but it nonetheless managed to stand out from the pack with its extensive cast of characters and its themes of coordination problems and the end of the world. Later McCrae web serials include Part (the first "Otherverse" serial; an urban fantasy story about a couple who die in a car accident and find that they have become ghosts), Tear (a "biopunk" story set in a collapsing underwater city), Warn (the controversial Wind sequel), and Play (the second "Otherverse" serial, set in a small Indiana town that helps hide a psychic girl from the CIA).

Last and perhaps least, we should discuss J. K. Rowling. Far and away the most famous of any of these authors, Rowling's name is inseparable from the YA series that she debuted with, the Luz Noceda books, which remain her one successful work. Although it was heavily derivative of older fantasy novels - like Jill Murphy's Academy For Little Witches, or Philip Pullman's Methods Of Rationality trilogy - Luz Noceda was still a monumental and unprecedented success in the publishing industry, and the film adaptations were consistent blockbusters. The final book, Luz Noceda and the Watcher of Rain, contained some allusions to a romantic relationship between Luz and her recently-redeemed associate Amity. Rowling confirmed that this was her intent in subsequent interviews and indicated that she had fought her publishers for it; the film would then go on to escalate matters slightly further.

There have been many lengthy and heated online arguments as to whether the references in the book itself constitute text or mere subtext. Whatever your stance on this discourse, a new complication has been introduced recently: although she has put out no official statement on the matter as of yet, it has become quite apparent from Rowling's shrinking network of contacts and her conspicuous silences that she is certainly TERF-sympathetic, and likely an outright TERF herself. For many, this is leading to a critical reevaluation of the social values inherent in the Luz Noceda series; others, to say the least, are holding off on that kind of reappraisal.

Anyway, Scott Pilgrim just beat Luz Noceda in a Twitter poll for Most Gay Media, and people are piiiiiiiiiiiiiiiiiiiiiiiiiiiiiiissed

[poppitron360]

Just saw a video complaining about the British!Thalia casting saying that “Rick isn’t being faithful enough to the books” but like??? Clearly her nationality just isn’t that important to the character?? Not all changes are bad and actually one (very small) issue I have with the books is that they’re too Americanised. Tamara is a great actress first and foremost, but it’s a perk that this change might actually make PJO more appealing to international audiences!! Much like how British characters are FREQUENTLY Americanised in adaptations to make it sell in America (e.g Anathema Device in Good Omens).

Thalia’s nationality is not core to her character in the books. In the grand scheme of things, it’s a very minor change. The show was never gonna be exactly how you imagined it anyway.

Also, for anyone wondering if this means we’ll get British!Jason? Not necessarily. Jason was raised at the Wolf House and then at Camp Jupiter, and Thalia was born six years before him and their mother could’ve easily moved to the US in that time. In fact a larger emphasis on the differences between the siblings could serve as a good metaphor for the Greek/Roman divide- and play into the fact that Jason is not quite the “All-American Golden Boy” that he seems and how he never seemed to fit with the expectations everyone had of him.

Also imagine how all these goofy British quirks would really throw a spanner in the works for Jason in TLH. Like there’s all this weird stuff with Roman gods and speaking latin but also? He’s got a British accent that seeps through when he’s caught off guard? Weird familiar feeling that drinking tea gives him? How cute and confused would he be as he’s trying to figure out where his “home” is and he keeps getting all these mixed signals? There’s potential here, guys!

I’ve got a post in the works about British!Jason hcs, but my point is that y’all should think about how much potential something has to be great before signing it off as rubbish.

I think the movies traumatised us, and now we all think “different = bad” but this might bring some positive change, and make some people in the audience feel a bit more included and represented.

[mo-mode]

Back on my Screenwriter soap box while watching PJO: They should have bought a bunch of oil diffusers.

(Edit: This post was made before someone pointed out to me that I missed a key line of dialogue, but my points and theories still stand for the same reasons backing up my original post so I’m not changing anything. The dialogue I missed lets us know that Hermes told Percy the lotus was being pumped into the air off-screen. It’s also implies (? I’m still on the fence about this one?) that Hermes told him what day it is, but I missed these during my first three watches because of how quick and vague it was. Which actually kind of supports my point on why visual indicators are so important. Without these, it’s easy to miss key information. And remember, it’s a kid’s show. ANYWAY my conclusions haven’t changed, and I still believe these edits would work better than the quick line of dialogue so just keep this in mind. Thanks.)

(I’m not being nit-picky. I swear. Just hear me out.) So the weirdest thing to me in episode six was how Percy just…learned everything so quickly without any visual indicators? Like they know time passed because it’s dark outside, but how did he know it was Thursday? They know they were affected by the lotus flowers, but how does he know it was pumped into the air? This irked me because even if he’s smart enough to figure some of this out himself (which he is) we as the audience should still be able to follow his thought process instead of learning after the fact.

What if there were oil diffusers?

So imagine the trio walks into the Lotus, figures out this is like the Odyssey, and decides not to eat anything. They waltz in super confident that they cracked the code, but they were wrong. How do we know? Because the moment they enter the crowd, we get an establishing shot of a lotus-branded oil diffuser letting out steam.

Immediately, we as the audience realize their mistake, making it just that more tantalizing to watch. As the episode continues, we realize they’re everywhere. There’s a diffuser in the plants, on the counter, between the game tables, always right out of the corner of our eyes. They just keep churning out lotus-scented oil into the air, which we can infer because we’re smart. (Remember that.)

Now when Percy realizes what’s going on, we know HOW they’re doing it and HOW Percy knows without being told!! Because they were there the whole time.

Onto Thursday.

Consider: A watch.

What if Hermes has the only watch in the casino until the trio walks in with their own?

Let’s give Annabeth one of those cheap, funky watches that gives the time, day, month, year, etc. Something you get from a kids toy catalogue. It’s waterproof, glows in the dark, has an alarm or whatever. I feel like Annabeth would have one of those. (And honestly, she might already. I forgot.) The most important feature for us, though, is the day. It clearly tells us the day of the week.

It’s pretty easy to establish that Annabeth has the watch. Just do it the same way they establish the date: Percabeth arguing over it in the truck. Annabeth shows him the watch. Establishing shot of the watch’s face. That’s it. No bells or whistles necessary. Then when they get to the casino, Annabeth checks it one more time (without an establishing shot, she just does it casually) and they walk in.

(It’s so easy. I promise.)

While Grover is walking around alone, he tries to check the time and realizes there’s no clocks. (Which ngl is super common in casinos already, but it’s creepy nonetheless.) Yada yada, he gets sucked in by Augustus and that’s how he gets got.

Meanwhile, Percy and Annabeth keep meaning to check the time, but every time they do, someone tries to hand them an appetizer or a drink, which makes them forget OR Annabeth’s hubris keeps her from checking. (Percy: Time check? Annabeth: Its only been five minutes. We’re fine. We need to focus.)

And that brings us to Hermes. After their chat, yada yada, Annabeth “leaves” and Hermes gets all cryptic, then he makes a BIG show of checking his watch, and THAT’S when Percy realizes something’s wrong because oh no they haven’t checked the time. So he finds Annabeth, they see it’s dark outside, they check her watch, and it’s Thursday.

“But we didn’t eat anything!” Annabeth says. Percy looks at the diffusers by the entrance. It dawns on him. “They’re pumping it into the air.”

That’s how you VISUALLY SHOW US THINGS instead of Percy just figuring everything out off-camera and telling us!!!!

Now, you may be thinking “Oh but do they have the budget for that??” Do you know how cheap these props are? Just bulk buy like six oil diffusers, slap a homemade sticker of a lotus flower on them, and keep moving them into every shot. And they’re quiet!! They wouldn’t interfere with the sound, the steam is visible enough to be caught on camera without messing with the lighting, they actually look really cool in some lighting, and they fit the atmosphere of a hotel/casino!! Then the watch is like $15, fits with Annabeth’s character, and totally matches her outfit.

It’s CHEAP! It’s EASY! It DOESN’T CUT INTO THE RUN TIME! It’s AESTHETICALLY PLEASING! ANNABETH GETS A SICK WATCH!! NO DOWNSIDES!!!!

The biggest problem with this show isn’t how accurate it is to the book or how much money they have or that they’re “Disney-fying” it. The problem is they are TELLING US things instead of SHOWING us. And not to beat a dead horse because everyone’s heard of “Show Don’t Tell” but like??? This is exactly why everyone is taught this over and over again in school?? Because people still do it anyway all the time???

There’s also something else I learned (or really just picked up) when I got my B.A. in Creative Writing: Good shows are predictable.

Whether it’s a case of the audience learning what’s going to happen before it happens or them watching the show again and realizing how obvious the answer was the whole time, audiences always want to feel smart. They want to interact with the material. If you don’t give them the opportunity to pick apart the mystery themselves by setting down clues, they’ll give up on interacting with the show and lose interest. That’s why you SHOW them things. There are several moments where this show is completely unpredictable, not because it’s complex but because it doesn’t let you predict it. That doesn’t make it bad—the comedy and character development is doing a great job of carrying the show’s weight so far. But it definitely doesn’t make the show good.

It’s like Rube Goldberg machines. Or dominoes! We don’t watch those crazy 1000+ domino videos so we can watch the last one fall. We watch it to see HOW they fall. Take one domino out, and it’s unsatisfactory. It doesn’t work anymore.

But some oil diffusers and a watch??? Little clues that make the realization that more visually appealing??? THAT’S SATISFYING

Anyway, these are just two things that could have been done, but weren’t. Most of the show is stellar. I think it just needs a little bit of editing here and there. I studied this for like years, and I needed to get this off my chest. That’s it.

Rick Riordan, if you ever see this, I am available for hire :) I would love to be a script doctor please please please please

[clanwarrior-tumbly]

Hi ! So I had an idea for a Matthew Patel x reader fanfic, where the reader is playing Ramona in his Scott Pilgrim musical, and when they have to kiss for the play, in front of the whole theatre, they see sparks, but can't talk about it until the play is over. Like realizing they're in love or something, I hope I explained it well- thanks<3

"🎶 Howwww do I tell him my exes are evil?🎶"

Standing alone on the stage, you sang your heart out to the adoring audience, the spotlight shining down upon you and your dyed rainbow hair.

You weren't even nervous about performing for Scott Pilgrim's Precious Little Musical anymore. Everything seemed to come naturally the moment it came time for your soliloquy as Ramona Flowers.

Indeed, for the play you were starring as her, with your first solo number being an emotional lament on the inevitability of Scott fighting all seven of the evil exes in order to date you freely.

It seemed silly when you read the script for the first time...but now?

You were absolutely killing it, as you could hear a few cheers from the crowd.

Even Ramona herself was sitting there, looking quite entertained by your reenactment of her...whereas the real Scott Pilgrim was right next to her, appearing the exact opposite. He just seemed really confused and annoyed..

But you couldn't blame him for feeling somewhat mocked considering he was presumed dead after his fight with Matthew--only to suddenly come back without much of an explanation and realize this musical was all about him.

Speaking of whom, he probably felt more insulted by Ramona's actual first evil ex starring as him, wearing his coat and a ridiculous orange wig that hardly looked anything like his own hair.

Nevertheless, his other friends and all the Exes seemed to be genuinely enjoying the show. Some even teared up at your incredible acting skills and moving singing voice.

Among them was Matthew, who was hanging out backstage and preening himself until it was time for his cue.

You two have been friends for a long time, even before he knew the League was something that existed. Being theatre kids, you two were more than eager to get this musical to take off..and maybe get it on Broadway itself if the opening night was received well.

So far..it was being received extremely well. Every other actor knew their lines and sang flawlessly, putting their heart and soul into each performance just as you and Matthew did.

Although....there were a few minor hiccups--such as the part where him, Scott, Ramona, some of their friends, and the remaining Exes were all mysteriously warped out of the theater by a red portal. But they eventually returned and everyone figured it was part of the play, so it continued on without a hitch.

During one of the final acts, there was a "special" scene planned that you and Matthew have only 99% rehearsed...

Because the other 1% had to be done right the first time. It was the most highly-anticipated part of this musical:

The kiss.

One that proved Ramona truly loved Scott, forever securing their happily ever after.

When it came time for the scene, the stage darkened everywhere, with the light only shining down on you and "Scott". He took a deep breath as he turned to you, taking your hands into his own, wearing a gentle smile.

You both stared into each other's eyes for a long time, soft piano music playing in the background.

Your heart was thumping in your chest, as was Matthew's as you two tried to focus on your line delivery and nothing else.

"Ramona?"

"Yes, Scott?"

"...I love you."

"I love you, too. You saved me. Saved our relationship..and I could never thank you enough."

"Hah, I should be the one thanking you...because I finally stood up for myself, and for us!"

"Oh, Scott.."

At that point, some of the spectators began to chant for the kiss--with Wallace being the loudest, of course--and you could only smile bashfully, not realizing how fast this part came up until now.

Yet for some reason, Matthew appeared unusually nervous, red rising to his cheeks as he squeezed your hands rather tightly. You didn't know why he was acting this way, considering you've seen him do kiss scenes in past plays.

But you figured that since this was his first major theater performance, he was only nervous about wanting everything to be perfect. So you gave him a reassuring nod that said "it's okay, you can do this."

Fortunately, he seemed to understand, as a moment later he pulled you into a passionate kiss, lips crashing against yours.

The volume of the applause and cheering grew tenfold; some people even gave you a standing ovation even though the play was nowhere near over.

They loved it.

They absolutely loved it.

And honestly? You kinda liked kissing Matthew in front of everybody, partially wishing this wasn't just for the play..

But while the special effects team went to work recreating the "spark phenomenon" with glitter, confetti, and more....there was something going on between you and him that nobody else could see:

The real sparks that manifested after you both parted.

Your heart jumped into your throat as you watched them fade away, before looking at him.

Judging from his face, you knew that he most definitely saw them, too.

You've been skeptical of the sparks in the past, as you've dated several people yet never saw them at all.

So...why were you only seeing them now? And why with Matthew, of all people?

Did it have something to do with you dressing up like his ex-girlfriend?

Or was he finally looking beyond that curtain and discovering that he actually loved you?

Regardless, now wasn't the time to be thinking about any of that stuff, as you noticed he was slowly going off-script...something that you've never seen happen before. His hands shook and he seemed to forget his mic was still on.

"S-Sparks.." He stammered out, still giving you a wide-eyed stare.

"I...guess there were sparks, after all." You hastily salvaged the situation with a small laugh, putting your improv skills to work. "I never believed in such things until I met you, Scott Pilgrim."

After the lights dimmed, the cheering persisted as you grabbed his hand and half-dragged him backstage. By that point he seemed to have snapped out of his trance, deciding to scramble to prepare for the final musical number with everyone in the cast coming out.

But despite him returning to his snippy attitude with the makeup artists, he could barely look your way without blushing immensely...and quite frankly, you couldn't get rid of your smile.

'Shit..he's in love with me, I just know it..' You sighed as you sat comfortably in the chair, letting the wardrobe crew swap your dyed wig with a different colored one.

As badly as you both wanted to talk about what just happened...you knew it had to wait.

For the show must go on.

........

After the musical was finished, you changed your outfit and searched around backstage for Matthew, hoping you could finally discuss the sparks you both saw.

Soon you stumbled upon him, Gideon, and Julie...and for a moment, you were nervous.

Considering what happened between the two guys, you figured all hell was about to break loose--and apparently it almost did during the play since Gideon rigged the overhead area with dynamite. It was out of pure revenge for all of his assets being taken.

Yet it seems all was forgiven as they hugged it out, laughing with tears in their eyes, before Gideon and Julie walked away hand-in-hand.

Now that Matthew was finally alone, you had your chance.

"Since when did you two become besties?"

With a small yelp, he spun around quickly, relaxing as he realized it was only you. "Oh! Uh..no. I just...decided to give him back the company, and he let me keep the musical." He grinned, although it appeared rather forced. "That's all."

"I see.." You sighed, stepping closer to him. "Listen, we need to talk about-"

"I know." He answered bluntly. "I....saw them, too. And those weren't any special effects. They were legit."

"...are you sure about that?"

Matthew looked taken aback, as he just gawked at your question.

"Let me rephrase that," you cleared your throat. "I confess that I saw them because of you. The real you. But..I don't know if you saw them because of the real me."

"...I'm not following."

"Did you only see them because I looked like you ex-girlfriend?"

"N-No!" He nearly shouted, his cheeks flaring red as his stare remained intense. "I've moved on from her, I swear!"

Part of you remained skeptical yet. "I may need some convincing."

Before he could ask you why, you interrupted him by bringing him into a kiss this time. It initially shocked him, but he quickly melted into it, cupping your face in both of his hands.

Just like before, the sparks were there. Not as brilliant or explosive as the first time...yet they were all the proof you two needed.

Now you knew for sure that your love was real and true.

Matthew was quick to pull you back in for one more kiss after seeing them, desperate and wanting you as close as physically possible.

It probably would have escalated into a full-blown makeout session had you not heard the voices of the other Exes drawing nearer.

You immediately parted and saw them all standing there, looking utterly shocked at what they were witnessing. But you had no shame, instead smiling and waving to them as you held his hand.

"Great news, guys...G-Man's not the only one with a hot date anymore." You winked to your new boyfriend, whose ears turned red with embarrassment.

The group then smiled back, happy for your new relationship and trusting that you'll treat him with all the love and respect he deserved.

Before either of you knew it, you were being carried out of the theatre on the shoulders of Todd and Lucas, while the rest of the gang--along with Scott and Ramona--followed suit, eager to celebrate the play's success.

But tonight wasn't just about that.

It was also about what the future held in store for you and Matthew.

[strwberri-milk]

Could I request s/o giving the boys snack boxes with Kaveh, Ayato, and Wriothesley?

Those were so so so cute!

Kaveh is overtly very curious about what you're putting together. If you ask him to his face he won't admit that he wants to know what you're doing. You eventually end up telling him that you're simply preparing some gifts for the people in your life. He doesn't want to ask you outright if he's included in that list because he'd 1) hate to assume he is and 2) be embarrassed if you say that he isn't and this is for some separate event wherein he's not the intended audience.

A few people who know the two of you come up to him and ask if he's gotten a gift from you and he simply laughs it off, not wanting to make things awkward for anybody. However, the thought of it still sits in the back of his mind as their questions roll around his head. It makes itself known in the pit of his stomach, trying to figure out how he can ask you about what's happening.

When you come back home you see him sitting on the couch, deliberating intensively about just that. You're not sure if you should interrupt him, the bag in your hand almost forgotten in the state of mild panic his intensive thinking taking precedence.

He hears you coming up to him and looks up, trying to string together the proper words to ask you why you aren't getting him anything. You can see the slight pout on his lips as he tries to get rid of it, laughing a little to yourself at his attempts. You brandish the bag to him at the same time, Kaveh's eyes lighting up while you explain you wanted to make him an extra special treat. You're rewarded with a tight hug and his insistence that the two of you eat everything right now.

Ayato doesn't mind too much. He knows you were running around putting gifts for some of your friends and to him, he just assumes it's simply something nice you just wanted to do for them. He doesn't want to interrupt you in your project so he's keeping his distance from it. After all, it'd be devastating if he accidentally destroyed the snacks you were so carefully trying to preserve for your friends.

He does make positive comments though, finding the smell wafting through the home to be very pleasant. He lives for the way you practically glow under his sweet praise, feeling just as satisfied as if you hand confessed your undying love for him once again.

He sees a specifically ornate box being kept to the side and out of curiosity, he starts to build up a list of the most likely receptions of that box. When he sees that it's gone one day he simply assumes that you've delivered it to your intended recipient, not thinking much of it and not realising that it's sitting in your shared bedroom one night.

You have to point it out to him, recognition dawning on him at the same time as him realising that you saved the most elaborate gift for him. He laughs to himself, opening the box and admiring the efforts you went through as he presses a kiss to the top of your head and sets it aside to save for an afternoon with you.

Wriothesley almost doesn't notice you're making something with his busy days until he finds a strange amount of bags sitting around waiting to be filled. You quickly explain what you're doing and he nods in understanding, smiling at how kind you are and leaves it at that.

He never really would expect you to give him anything so the thought that you might even make him one never crosses his mind. As far as he's concerned, you're just making some people some tasty treats as a show of appreciation.

When you come up to him with his own tasty treats in tow he gives you a warm smile and opens it up to see what you've made him. He'll ask if you've got a bit of time to spend with him, already getting up to brew some tea that he feels would perfectly compliment the treats you've made.

[iamonlyperson]

THE HOLLYWOOD REPORTER

YouTuber Markiplier Got Passes From Everyone in Hollywood — So, He Made a Hit His Way

Podcast adaptation 'The Edge of Sleep' from New Regency spent the weekend on Amazon Prime Video's most watched TV chart, but, as the YouTuber and team reveals, it didn't get there through traditional channels.

In 2019, 'The Edge of Sleep', the latest offering from Mark Fischbach, known to his 37 million YouTube subscribers as Markiplier, was pitched to every major platform in Hollywood.

By then, 'The Edge of Sleep' was already a popular podcast. In fact, it quickly became the biggest genre narrative podcast of all time, with some 6 million downloads and counting. And for the television adaptation, Markiplier would be reprising his role as a night watchman, who attempts to survive a mysterious global crisis where anyone who goes to sleep dies. The podcast’s creators, Jake Emanuel and Willie Block, were on board to write and run the TV version, and Longlegs producer Brian Kavanaugh Jones was attached to produce. There would be six episodes, made on a relative shoestring budget, served up to a rapt audience that Markiplier has cultivated for more than a decade with a channel primarily focused on Let’s Play videos.

Curtis, who’s represented Markiplier for eight years, wasn’t particularly surprised by the deluge of nos. As he tells it, Hollywood has never been willing to take his client seriously. The feedback? “Oh, the YouTuber? No, thanks.’ Just totally dismissive,” he says via Zoom, insisting the entire reason that they did 'The Edge of Sleep' as a QCODE-produced podcast first was because they wanted something to be able to show skittish buyers when they ultimately shopped the TV adaptation. It was also the reason that Curtis, whose client roster over the years has included Rami Malek and Veep‘s Timothy Simons, urged Markiplier to do his second podcast, Distractible, an unscripted offering featuring him and a few buddies.

“I went to Mark three years ago and I said, ‘Hey, look, I’m not getting a lot of love and respect for you in the market, you should do a podcast because I know you can build one of the biggest podcasts in the world. And at that point, I think traditional Hollywood will say, “Oh wow, you just knocked out Joe Rogan from No. 1 on Spotify. Let’s pay attention,”’” says Curtis. “And then he did that, and people still didn’t care. It’s been seven years now of trying to get traditional Hollywood to pay attention.” (For the record, Spotify did, allegedly inking an eight-figure dealfor him to host video episodes of Distractible and other podcasts.)

Markiplier is considerably more diplomatic. “I’m trying to show people [in Hollywood] that there is a different way, but at the same time, I do understand the mistrust of some creators,” he tells THR, acknowledging it was daunting to leap from his own videos to large-scale productions, with crews in the hundreds, even for him, who had scaled up gradually. “A YouTuber going into that is used to doing everything themself, so to learn to both collaborate with others and to let go a little and trust those who are experts in their department, it’s tough — especially when you have a distributor or some production company overseeing it or paying for it who wants to have input. It’s hard, and YouTubers can be very egotistical.” (Though he was simply an actor-for-hire and not a creative engine on Edge of Sleep, Markiplier still managed to butt heads with his producers, including the time he insisted upon licensing and editing in a different opening theme song, which he ultimately did with his own money.)

Most in Markiplier’s situation would have cut their losses and moved on. He hardly needs Hollywood, after all. But he didn’t generate nearly 17 billion video views by doing what others would do. “And I have a desire to prove myself and prove that I can play at other people’s games just as well as they can,” he says. So, he and the team, which also includes Oddfellows’ Chris Ferguson and director Corey Adams, among others, decided to forgo the traditional route. Markiplier agreed to put up a portion of the financing, and figure out a distribution strategy later. On Kavanaugh Jones’ recommendation, New Regency was recruited to come aboard as the studio and foot the remainder of the bill.

So, with COVID-19 still raging, the cast and crew decamped to Vancouver in the summer of 2021. The shoot lasted 25 days across 35 different locations, a triumph given the protocols in place at the time. According to New Regency’s chairman and CEO Yariv Milchan, it was a bet worth taking. “New Regency has a history of recognizing potential where others haven’t. Projects like The Revenant and Bohemian Rhapsody had been overlooked for years, yet we saw their value and brought them to life,” he says via email, adding: “With The Edge of Sleep, we saw a different potential in the unique combination of the largely untapped creativity from Markiplier and his dedicated fanbase, along with the success of the original QCODE podcast. We were inspired by the challenge to create, together with Markiplier and QCODE, a series at the right budget while embracing innovative marketing approaches.” (Though everybody’s staying mum on said budget, it’s said to be a small fraction of a typical prestige drama.)

In 2023, with a nearly completed series, they took it out once more. This time, they did so with the first episode available for potential buyers to preview. Again, they were greeted with a succession of passes. Curtis, who’s also an executive producer on the project, isn’t even sure they bothered to open the link and sample it. “It was the same thing, ‘No.’ ‘No.’ ‘No.’ And that’s the point at which 99.9 percent of Hollywood quits, it’s over,” he says. “But we knew, with Mark, you have this special ingredient that people truly undervalue — and he’s a complete genius in marketing to his fans.” 

He was confident that Markiplier could and would activate his audience. After all, he’d seen him do it many times before. A few years back, for instance, Markiplier had a YouTube channel called Unus Annus (“One Year” in Latin), where he posted a new video every day for a year, culminating in a 12-hour live stream on day 365 that ended with him deleting the entire channel. At one point, Curtis says there were 1.3 million concurrent viewers watching; and, in 24 hours, he says Markiplier managed to sell $19 million of merchandise. “And that was something that we couldn’t pay people to write about or talk about. No one cared,” says Curtis, who acknowledges he has a chip on his shoulder on his client’s behalf. “I mean, there’s less than 50 people in the entire world who could do that. We’re talking, like, Taylor Swift, Kardashian type stuff.”

Last month, Hollywood finally got its taste for Markiplier’s power. Over on YouTube, his platform of choice, he released a video announcing that Edge of Sleep would be coming out in a matter of weeks. That video, which didn’t even tell people where they could watch the series, racked up 3.5 million views. Then, on Oct. 18, the full season dropped on Amazon Prime Video via the Prime Video Direct content submission portal — or, technically, it was uploaded a few days before, for quality control. Almost instantly, and without any real promotion, it had broken into the Prime Video’s Top 10, where it remained, hovering around No. 6 or 7 through the weekend.

By Friday, a trailer dropped on both QCODE and New Regency’s social media, and Prime Video posted a clip on its social channels. A paid media buy launched that day, too. Later that evening, Markiplier called an “Emergency Meeting” of his fans, which turned into him hosting a three-hour livestream, during which he urged everyone to tune in and rate the series, as his goal now is to stay on the Top 10 TV chart for 30 days. In success, there will be a second season, and ideally distribution outside the U.S. According to the Amazon site, Content providers to Prime Video Direct receive 50 percent of net revenue for titles that are available to buy or rent. By Sunday, 1.2 million had checked out the livestream video just to hear him field questions about the making of the series, his first foray into scripted and dramatic TV. (He talked, too, about Iron Lung, a bloody film that he acts in and directs, for which he’s currently seeking a theatrical distributor.)

The irony of its success over on Prime Video, one of many platforms that passed on Edge of Sleep when it came through the traditional channels, is not lost on Markiplier or his rep. “We definitely want to break glass,” Curtis says. “We want people to pay attention to the fact that this guy who was told no over and over again is so powerful that he can launch a TV show to great success on his own.”

[linkspooky]

Art credit: @/charscounterattack reposted with permission.

INVINCIBLE VS. MY HERO ACADEMIA: WHEN HEROES KILL

Whether or not heroes should kill people is a hotly debated topic in comics.

There are people who think heroes should never kill, and others who think heroes should kill more. One of the most famous comic book storylines "Under the Red Hood" has Red Hood / Jason Todd debate whether or not it was ethical for Bruce to keep letting the joker live even after the Joker killed Jaso, especially after the Joker killed Jason. If killing the Joker earlier to prevent all future deaths would have been justified. There are like a hundred DC Aus that are like "What if Batman and Superman just started killing people?"

In order to explore this question I'm going to explore two situations in different comics, Invincible and My Hero Academia when the hero, a very idealistic young hero kills someone for the first time.

LET HORI COOK

Storytelling, especially for serialized storytelling which comes out week by week instead of all at once works on the premise of drawing people in by promising that certain future developments and plot points are going to happen. Stories are all about creating expectations, building them, and then paying them off.

Here's an example: The Dabi is a Todoroki theory has existed pretty much since the training camp arc. Horikoshi wasn't in your face about the hints about Toya, but there was just enough hints to make the theory seem more and more plausible. Toya having the same fire quirk as Shoto / Endeavor. Toya mentioning both of them by name. Shoto's two other siblings getting revealed but not Toya. Toya saying that Hawks should have paid attention to him most of all. All of these little pieces came together until Toya finally revealed his identity on live TV in front of both Shoto and Endeavor.

This worked because not only did it give the audience just enough clues that they felt smart for figuring it out, and get invested in the idea of Toya as a Todoroki, it also was well-paced so it didn't seem like Horikoshi forgot about it unlike the traitor plot which went hundreds of chapters without being mentioned. If Toya was revealed to be a Todoroki at the training camp arc with no buildup, it wouldn't be as effective bcause we didn't have years of waiting and theorizing. If Todoroki was revealed to be some guy named Steve after all the hints, it also wouldn't be an effective reveal because there were hints dropped for Toya Todoroki, but there were no Steve hints so it'd feel like the author lied to us.

Themes are like this too. I tend to explain story themes by oversimplifying it as "Question, and answer." The story asks a question, it provides us an answer, and we can come up with our own answer as well. However, there's a middle part I'm skipping out on which is deliberation. Before you can come up with an answer, you obviously need to deliberate it, either by presenting arguments for or against, hearing outside opinions or just thinking things through.

In other words, you need to "Let things cook."

If Toya calling Shoto by his full name at the Training Camp Arc is when we're first asked "Is Toya a Todoroki?" or when the theories first started, then the long middle period between Training Camp Arc and the First War Arc is the deliberation. This is when the story not only added more hints to the idea that Toya was a Todoroki, but also set up why that reveal mattered. Endeavor wanted to atone for his past sins, but one of his victims was no longer alive. Endeavor begins to move on anyway and think he's finally made himself a good hero, but now Toya appears to flip up the reverse Uno Card.

So let's follow this basic formula, for how ideas get developed in My Hero Academia and just any good story.

Question / Introduction

Deliberation

Answer / Conclusion

My Hero Academia and Invincible explore similar themes in regards to heroism, generational trauma and how to be better than the previous generation in both Mark and Deku. I'm going to streamline their arcs down to one basic question for the sake of time. For both the question is:

Can I be a better hero than my Dad?

Deku and Mark might be two characters who cannot possibly seem to be more different, but you can actually list off a lot of similarities between them right away. Deku and Mark are both people who in a world oversaturated with superheroes spent most of their childhoods with no superpowers at all. Also, they were genetically supposed to inherit a quirk / viltrumite powers, but Deku was born quirkless, and Mark was an extremely late bloomer. They are also people who while being powerless civilians for most of their lives worship heroes. Deku collects so much All Might Merch he even stole some from Nighteye after he died, Mark attends comic conventions even after he becomes a superhero.

They also grew up worshipping one hero in particular who was essentially earth's strongest hero, for Mark it was his dad Omni-Man, for Deku it was All Might. They also both get the opportunity to train directly under their favorite hero immediately after they get their powers. At first this makes it seem like they've been given everything they've ever wanted. All Mark has ever wanted was to be a hero like his dad and make his father proud. Not only did Deku just want one person to tell him he could be a hero too even without a quirk, but his very idea of heroism is built around seeing All Might always save people with a smile.

However, both of them suddenly hit complication just when it seems like they've been given everything they've ever wanted. They are both confronted with the fact that their heroes are not who they expected them to be. They are overly idealistic heroes who have been dreaming of being heroes since childhood only to be hit with a much greyer reality. To the point where there innocence becomes a flaw in and of itself. The way they've been coddled and protected all of their lives leaves them completely unaware and unable to spot the grey areas in the world, or the people around them.

For Deku the moral greys exist in the villains around them. In MHA Society, villains are basically just bad guys in suits for the heroes to punch on television. They're seen as a faceless enemy, and there's very little in way of rehabilitation for villains once they're captured. Deku lived in a very black and white world before this point, and he's suddenly presented with the idea that his villains could be morally grey.

Deku's image of All Might is a hero who saves everyone with a smile, so he could never imagine that there are people who All Might has failed to save. He's never stopped to consider where villains came from, or if any of them might have legitimate reasons for their grievances.

This becomes a pretty central theme in MHA. It's first brought up here when Shigaraki talks about All Might acting as if there's no one he can't save. Twice brings it up again in his first backstory chapter, that the heroes only save the virtuous ones.

This is further enforced in the same overhaul arc with members who are loyal to Overhaul because they are society's trash who would have been thrown out otherwise. There is a group of people fiercley loyal to Overhaul who is a terrible boss, because he is the only person who would accept them.

edits belong to @stillness-in-green from bring it all back a tone poem on returning to staus quo located here on ao3.

In the War Arc this long running theme basically reaches a climax with the Hawks and Twice confrontation, where Hawks decides to try to offer Jin a chance to restart because he's deemed him "good" but he won't extend the same helping hand to the league who Hawks has determined as "bad." He then asks Jin to betray his friends in order to be saved, something that Jin rightfully calls out.

That Hawks only wants to save Jin because he's one of the good ones, and he's written off the rest of the league and left them for dead. Hawks choosing to divide between good and bad victims ad only save the one he personally thought was worthy of redemption, makes it impossible for him to save Twice who would never under any circumstances give up on the rest of the league.

Twice's death is a tragedy, but it also presents us a clear example of the failures of the previous generation. Even a hero who sincerely sympathized with a villain and wanted to help them start over wasn't able to help them because of this attitude of selectively picking and choosing who to save. If the heroes only save the innocent the I guess the lives of the guilty are worth less.

This is the questio Toga poses to Ochako, if the heroes killed Twice then are you going to kill me in order to stop me. This is the central subject of Shigaraki's speech to the heroes. That heroes and villains will never uderstand each other, because the entire hero system perpetuates itself on ignoring the needs of societal outcasts and rejects in form of the "innocent people" and those outcasts who aren't having their needs met eventually turn into villains who get systematically put down by heroes. Heroes and villains are incapable of understanding each other and breaking the cycle, because the entire system isn't built on helping people, but merely maintaining the idea that heroes are perfect, faultless saviors so normal people will feel secure, while the people the heroes have failed get swept under the rug so society can keep "functioning."

"You heroes hurt your own families just to help strangers. You heroes pretend to be society's guardians. For generations, you pretended not to see those you couldn't protect. That means your system's all rotten from the inside with maggots crawling out. It all builds up, little by little, over time. You've got the common trash, all too dependent on being protected, and the brave guardians who created the trash that needed coddling. It's a corrupt, vicious, cycle. Everythig I've witnessed, the whole system you've built has always rejected me. Now I'm ready to reject it. That's why I destroy. That's why I took power for myself. Simple enough, Yeah? I don't care if you don't understand. That's what makes us heroes and villains."

So if the starting question is: Can I be a better hero than my dad?

Then everything I've detailed above is deliberation. Here we have, ever since the training camp arc, this slowly built up idea of why All Might was a flawed hero in the end.

Mark has to face the fact that his father is a more morally grey person than he could ever imagine, whereas Deku has to face the fact that the villains are more morally grey in his world, and that makes the heroes look more flawed in comparison as well. The deliberation is all slowly bringing Deku to think over what Shigaraki asked him all the way in the beginning in there first meeting.

Were there ever people that the heroes couldn't save? If so then what are you supposed to do with the victims you can't save after they grow up? This is when Deku begins to start forming his own answer.

Deku hears the advice of both the other OFA users, and The Stinky Old Man (Gran Torino) that killing Shigaraki is the best option, but wants to explore other options.

Scenes like this clearly telegraph what the answer / conclusion Hori is leading us to to be. The same way that Toya is a Todoroki is foreshadowed long in advance, statements like "All for one is a power meant for saving, not killing" clearly set up Deku's Endgame. Deku's end goal is to find a way use his power to save Shigaraki rather than killing him. Everything else is just a matter of deliberation, Deku knows what his edgoal is but the chapters between then and the end of the manga is Deku having to figure out how exactly to save Shigaraki without killing him.

You Heroes Hurt Your Own Families Just to Help Strangers

Invincible is the story of Mark Grayson, the son of Omni Man / Nolan Grayson. He's been told all of his life that his father is a viltrumite, a race of benevolent aliens who send out people like Nolan to alien civilizations in order to uplift their entire civilization. Which is what led Nolan to come to earth and become Earth's greatest heroes.

This turns out to be a big fat lie when within 12 chapters Nolan not only slaughters the guardian's of the globe, but also has a confrontation with his son.

Mark has wanted to be just like his dad his entire life. Only to be slapped in the face with the realization he's known nothing about his dad his entire life, shown rather brilliantly by these panels where Nolan tries to have a normal father / son conversation with Mark while covered in blood.

Nolan isn't from a futuristic utopia but from a brutal, fascist space empire. He didn't come to earth to help bring it up, but to weaken its defenses and make it prime for conquering. He didn't have Mark out of love, but to produce another soldier for the viltrumite empire.

Mark's entire schtick is that he's invincible, but he's so inexperienced as a hero that he gets beat up constantly despite the fact he has the strongest power set in the series b/c he has viltrumite powers. However, not only does the series introduce moral greys by continually showing how Mark even with the best power set in the series constantly gets his ass kicked, it also challenges Mark's black and white thinking and hero worship of his father by showing him the kind of man his father really is.

Mark has wanted to be exactly like his father his entire life, but now that's suddenly a bad thing. His father is a morally reprehensible person and Mark is now a descendant of an alien race meant to conquer worlds. Not only is Mark confronted by who his father really is, but now everyone in Mark's life judges him by comparing him with his father.

Mark has to work with Cecil and be his on-call Superhero, both to be able to pay for college, and also to prove that he's not his dad. The unspoken part of the agreement is that Cecil gets to keep a leash on Mark and Mark has to prove that he'll never turn out like his father to earn Cecil's trust.

Cecil is automatically suspicious of him because if Mark were to turn evil, the planet would have no defenses against him just like it didn't have any for Omni Man. Mark's mother starts to drink and blames Mark for Omni-Man leaving in a drunken moment of weakness because of how much the information that Omni Man only regarded her as a pet affected her.

The comic even shows us that in most alternate universes, mark actually did make the decision to join his father's conquest, and this universe is one of the few exceptions. This is also where we're introduced to a major reoccuring antagonist in the comics, and also the main antagonist / final antagonist of season 2 of the cartoon Angstrom Levy.

Levy is someone who can jump between dimensions and has traveled to almost all of them collecting his alternate selves. He has witnessed for a fact that in most universes Mark sides with his father instead of fighting against him.

Levy enlists the clone bros to build a device that would combine the knowledge of his alternate selves into one individual. This device ends up breaking tragically (partially mark's fault, but levy himself made the decision to stop the machine in order to stop the clone bros from killing Mark). Levy's memories become confused as a result of the machine malfunctioning, and he can't tell the difference between himself and his alternate universe counterparts. This means that Levy now remembers several alternate universes where Mark did turn evil, and remembers them as if they happened to him.

It's better elaborated upon in this post:

The process by which Invincible has had to condense and consolidate the plot beats of the original comic, coupled with the opportunity it's granted the writers to tighten up and emphasize its themes on a second pass, has resulted in a newfound appreciation for how unbelievably fucking good Angstrom Levy's whole character concept is. What's that, Mark? Your main emotional crisis this season is your fear of turning out like your father? Here, have an archnemesis who's out to kill you because his memories were inadvertently overwritten with the lived experiences of hundreds of alternate versions of himself whose friends and families were slaughtered in worlds where you did, in fact, turn out exactly like your father. Because it turns out that that is in fact the multiversal norm. That you turn out like your father. And now you're left to wonder what set of arbitrary coinflips pulled you back from that abyss in this dimension, and whether your luck is going to continue to hold into the future.

Mark is not only hit with the revelation that his father isn't as good as he thought he was, but also while he's in a crisis about about whether or not he will turn out like his father, he learns the answer is yes, in several dimensions he turns out exactly like his father.

In My Hero Academia there are families like the Todoroki's who balance the difference between a hero's obligations to society, and a hero's obligation to society. However, that's a side plot where I'd argue that the main plot for Invincible and it's main focus is what Mark owes to the world as a hero, and what Mark owes to his family.

It's not just that Omniman is trying to invade earth for the Viltrumite empire. It's not just that he failed as a hero, but that he failed as a father. What makes Mark snap, is hearing Omniman call Debbie a pet. Until that point Mark was in denial and still trying to reason with his father.

Invincible is about two intersecting themes: Is Mark obligated to use his incredible powers to help make the world better? Can Mark be a good hero and a good family man?

While MHA has more far reaching societal implications in its themes and questions, Invincible is more specifically about the Grayson Family. It's generational trauma on a society level, vs generational trauma on an individual level. The way Nolan was raised on Viltrumite effects how he raised Mark causing their conflict, and Mark's conflict with his father effects most of his young adulthood when he's trying to figure out what person he wants to be (read: not his dad), but also the way he parents his daughter with Atom Eve.

Omni-man failed Mark as both a hero, and a father. Mark feels the need to overcompensate for what his father did the world and all those innocent people by acting as Cecil's lapdog and doing whatever Cecil tells him.

However, Mark is much more hurt by the personal betrayal than he lets on. It's not just that his father killed a bunch of innocent people, it's also that Mark's father failed as a father, abandoning both him and mom and choosing to be a viltrumite rather than being Mark's father. Mark's stated reason for wanting to be a hero post the omni-man reveal is to prove he's not like his dad to the world, and also make up for the innocent lives he failed to save. However, his unstated underlying reason is Mark is hurt and betrayed his father didn't put his family first, and this causes Mark to always put his family first.

This leads to two insecurities / narrative flaws. One, Mark is insecure about becoming like his father so he tries to prove he's nothing like him by being the most selfless, perfect hero possible. Two, Mark is hurt by being abandoned by his father and doesn't want to become a deadbeat like Nolan so he gets extremely overprotective of his own family.

These two things are obvious in conflict with one another: A hero has an obligation to the common good which sometimes means sacrificing time with your loved ones. However, being a good family man requires a level of selfishness that directly contradicts the selfless hero that Mark is pushing himself to be. In the comic the way Mark prioritizes his family and loved ones over the common good and justice is made even more obvious. His first instinct on seeing Omni-Man again isn't to call him out for being an awful father, but to hug him and ask him to come home. Mark is a distraught son first, and a hero second.

Mark has two flaws, his fear of being like his father makes him try too hard to be a perfect hero, and his trauma over losing his father makes him prioritize his family over being a hero. It's very much a having your cake and eating it too situation, oftentimes heroes make huge sacrifices for their personal lives in order to be heroes, that's basically a theme discussed in the comic with Nolan being absent for a lot of Mark's childhood, and why Mark's relationship with Amber fails.

The show also introduces us to the idea that Mark is so afraid of becoming like his father that he deliberately holds back his punches. Which is good when he's fighting earth villains, but bad when he's facing viltrumites who can only survive being disemboweled, but will also come to wipe out all life on earth if they're allowed to live. In the show it's directly mentioned that Mark is holding back, in the comic it's implied when we see how helpless Mark is in the fight against other viltrumites. Mark lacks the resolve to kill someone and when fighting a viltrumite, failing to put them down can have consequences because they are galactic conquerors who will not show you any mercy.

This all comes to a head in the Angstrom Levy fight where Mark makes his first kill on-screen when beforehand he'd never fought to kill before, and even held back against galaxy conquering aliens who were out to murder him and his dad.

However. before we begin that.

Should superheroes kill?

People often act like whether or not super heroes should kill their villains is a black and white topic, where it actually depends highly on context.

Batman’s an entire character is written around how he wants to redeem Gotham and save the city, most of his villains aren’t even sent to prison they’re sent to Arkham a facility that’s supposed to rehabilitee the mentally ill so they can rejoin society. Batman has decided it’s his place to stop crime, not his place to decide whether or not people have the right to live or redeem themselves.

Batman is also at risk for being just like his villains, that’s why he’s foils with Harvey Dent, someone who tried to prosecute people under the law who then snapped and went full violent mobster vigilante. Batman actually is at risk for walking the same path as Harvey if he decides murder is an option.

In X-Men 97, there was a character known as Rogue who dropped Simon Bolivar Trask off of a building in an act of vigilante justice. This action makes sense in context for several reasons. One Rogue was raised by Mystique and Destiny, is a former member of the Brotherhood of Evil Mutants, and began as a terrorist in the comics. She's not really a "moral highground" character like Batman. Two, Boliver Trask built a giant killer robot that resulted in the deaths of millions in Genosha which Rogue is a survivor of. Number three, Trask had no sympathetic reasons for building the genocide robot, he built the sentinels out of bigotry to wipe out mutants. He's not a victim in any way, he's an oppressor facing consequences for his actions.

Batman shooting Harvey Dent, his former best friend, a victim of severe mental illness and trauma that still has hope for recovery, and Rogue dropping the guy who made a genocide robot off of a building are both wildly different situations.

So in the context of MHA we have Shigaraki Tomura, a terrorist who's goal is to destroy japan enough that it will dismantle the hero system for good. Shigaraki Tomura is a ten year old child who lost control of his quirk and killed his family for mistake, he wandered for days in crowded city streets but not a single hero stopped to help him, then he was found by the main villain of the story and groomed for ten years into becoming his successor. Shigaraki is also surrounded by a group of societal outcasts who were failed by society in similiar ways, so Shigaraki knows he wasn't the only one failed by hero society and he starts to wage his war for their sake as much as his own.

In Invincible we have Angstrom Levy. Angstrom is not plotting mass murder the way that Shigaraki is. He is specifically only targetting Mark Grayson's family for revenge (at least the first time he showed up, the second time during the invincible war arc was different). Angstrom's revenge against Mark Grayson is misplaced, but to be fair the accident messed with his brain hardcore and he doesn't remember clearly what happened. He doesn't remember that he's the one who decided to stop the machine in order to help Mark. It's tragic. Angstrom also has the memories of like hundreds of different universes of evil Marks. Even though he's the victim of a tragic accident, he's also a victimizer in that he doesn't choose to just go after Mark, he deliberately picks Mark's family, his mother, and his infant little brother as a way of hurting Mark.

So both of these characters blur the line between villain and victim, but neither of them are like Trask in that they have no sympathetic motivation whatsoever. Shigaraki's actions don't come from bigotry, and he's not an oppressor. Trask was actually trying to do something good before his machine broke and his brains got scrambled, and now he wants personal revenge and to blame all his problems on Mark which is petty yes, but not on Trask's level of heartlessness.

So, there's a case that can be made here for both of them that there's room to save them. After all Mark and Deku aren't killers to begin with. Mark especially has an incredibly vested interest in not becoming a killer. Even if they don't explicitly go out of their way to save and redeem these two people, we're still at this point expecting the heroes to at least take down these two sympathetic figures non-lethally. Mark doesn't want to be like his dad and Deku has said explicitly he wants to save Shigaraki, and that OFA is a power for saving and not killing.

Also to sidestep this argument before people comment on my post with it.

What do you expect the heroes to just let a mass murderer live?

YES!

It happens in comics literally all the time.

Magneto, Wolverine, Jean Grey / Phoenix, Emma Scott, heck, OMNIMAN himself, all characters who have killed lots of people and all characters who get to live and even be on the heroes side. Of these three Jean Grey of all people has the highest body count.

Shonen Jump also has Vegeta. Have you ever heard of Vegeta? Most popular Shonen Rival of all time? Omni-man and Viltrumites are basically just Saiyans.

In real life they wouldn't let a mass murderer walk away but comics are not the same as real life. That's why characters are always punching dinosaurs all the time. Fun fact, if you were to try to punch a dinosaur in real life it would probably hurt your hand. I would advise against it. Dinosaurs are for the most part much stronger than human beings.

As I outlined above Shigaraki and Angstrom are different characters than Trask. They might all be murderers, but the first two have sympathetic elements and are humanized, they are victims of oppression (Angstrom's been killed by viltrumites in a whole bunch of worlds) whereas Trask is an oppressor.

So for both of these stories we are not expecting to see Deku and Mark kill their final villains (for the series and for this season). Deku because he's spent the final third of the series trying to work out a way to save the villains, and Mark because he doesn't want to turn out to be a violent murderer like his father so he's trying to be the most selfless, most perfect hero ever.

I THOUGHT YOU WERE STRONGER

So we finally reach the scenes in question and I thought I'd compare them without much commentary, just highlighting what happens without adding much spin.

So the final episode of Invincible Season 2 and Issue #33 of the comic is where Angstrom and Mark have it out. Angstrom appears in Mark's home and threatens his family. he brings up the comparison between Mark and his father right away. This is also something Angstrom has seen first hand by traveling to multiple universes where Mark has sided with his father.

In the cartoon he's a lot more confused because he's constantly remembering other universe's memories as if he were his own so he genuinely thinks he's taking down an evil viltrumite, in the comic he's being more petty and blaming Mark for his deformity (I think he doesn't remember that he was the one to take the helmet off by choice). In both versions he uses Mark's family as hostages to keep him from fighting back as he tries to send Markk to his death in several different realities.

Angstrom then ups the threat of violence from holding them hostage to threatening to kill them. In both the show and comic he brutally breaks Debbie's arm. Mark is sent through several more realities, only to discover that Debbie's arm is broken and lose his temper.

Mark and Angstrom's fist fight comes to an end, and while Mark has him on the ground he keeps hitting and hitting and hitting long after Angstrom stopped fighting back. Which is what prompts the famous "I thought you were stronger..."

Now, in this situation it looks pretty justifiable that Mark attacked Angstrom so aggressively,. it was self defense for one against a man trying to kill him and he only got truly aggressive after he saw his mother's arm get broken. Not only that he didn't intentionally kill Angstrom, you can argue he went too far in a case of clear self defense. Other people even tell Mark that this one isn't on him, including Cecil who compares Mark to his father the most.

Then, why is Mark so disturbed?

It's because this....

Is a deliberate parallel to this...

It's not just that Mark killed a man, it's that he killed a man by pounding on him relentlessly long after he'd stopped fighting back the exact same way his father did to him during their fight.

There's a difference between Mark say, fighting against a viltrumite and making a deliberate decision to kill them because of the danger that viltrumites represent to other people considering they are planet conquerors, and Mark killing this man because he lost his temper and couldn't control his own strength.

Mark spends the entire season trying to not be like his father, only to see first hand that he's capable of the exact same violence that his father is. The last episode of Season 2 summarizes this moment pretty perfectly in a montage of season 1 moments while Mark screams and breaks the sound barrier trying to push his viltrumite powers to their limits.

Mark: I'm strong enough and I can do this. It's all I've ever wanted for as long as I can remember. I want to do what you do. I want to be just like you. Omni-Man: You will be, son. You will. Mark screaming. Omni-Man: You'll outlast every single fragile being on this planet. You'll live to see this world crumble to dust and blow away. Everyone and everything you know will be gone. Mark screaming. Cecil: You know who else said that to me? Mark: I'm not my dad. Mark screaming some more. KRegg: Your father will be execute and you can return to earth. You will assume the mission to prepare earth for our rule.

So not only is Mark hit with the realization that he's just as capable of being violent and angry as his father is. He also is being forced by the situation to become more violent out of pragmatism, because if he doesn't get strong enough to fight viltrumites then they're going to come to his planet and take everything.

Not only has Mark lost some of his innocence, he's also being forced to throw the rest of it away. It's why Mark drops out of college at the end of the season because any pretense of balancing between his human life and his duty as a hero is gone. He is basically forced to be a viltrumite full time now and will abandon any semblance of trying to live his own life for a very, very long time until his relationship with Eve starts to get serious.

Which is why a pretty justifiable murder in this context is presented as so bloody, gruesome and traumatizing an event for both the audience and Mark himself. We both know there's no coming back from this.

As for the death of main series villain Shigaraki Tomura, Deku ends up being forced to kill Shigaraki in a situation similiar to Mark. Though I will highlight one difference right away. Mark was trying to reason with Angstrom, but he was at no point like "I want to save Angstrom, he's a victim I want to find some other way of ending this bloody conflict between us." Mark just didn't intend to go so far as killing him.

Deku entered the fight with the explicit stated desire to save Shigaraki rather than killing him, which would make him different from the previous generation of heroes because he wouldn't turn a blind eye to society's faults and victims like Shigaraki accused him of.

Deku makes a journey into Shigaraki's mental landscape to find Tenko in a recreation of the memory of the day of his worst trauma. As Tenko's quirk activates, Deku attempts to grab the little boy's hands to comfort him.

Deku's "Why I am here" is markedly different from All Might's. Deku says the reason he wants to save others is to take their hands, comfort them and give them peace, whereas All Might as the strongest hero tried to keep peace by beating all the villains down. Deku's way to become the greatest hero once again, focuses heavily on saving others, and offering his hand to everyone without hesitation instead of picking and choosing who to save like previous generations.

Deku even says that he has to extend a helping hand to everyone because he's learning that the world is more complicated than he thought, he was ignorant to a lot of people's suffering, and he can't sweep their pain under the rug anymore.

For a moment Deku unconditionally extending a hand to Shimura Tenko even as his mental body begins to decay away wins over Shimura Tenko. Though Shigaraki also resists because much like Twice he doesn't want to abandon the rest of his friends even if it means he personally will be saved.

However, any attempts to save Shigaraki are interrupted by AFO suddenly appearing out of nowhere and taking control of Shigaraki's body yet again.

At this point Deku does exactly what Mark does, which is relentlessly punch Shigaraki's body to death in order to kill AFO along with Shigaraki. In some small defese Shigaraki was also there too punching AFO in his mental landscape so he was assisting Deku in defeating AFO he wasn't helpless the entire time.

But, basically we see the same scene happen with Mark.

A hero who does not wish to kill is forced by circumstance to kill a villain. In Deku's case it should be even more devastating because they explicitly went into the fight wanting to save Shigaraki and they believed their power was for saving and not killing.

Yet, we don't get nearly as horrified a response from Deku.

However, instead Deku's final words are just about how he couldn't forgive Shigaraki and had to put a stop to him no matter what.

Even the way the scenes are presented to us are entirely different. Mark punches Angstrom in a wasteland a dry, dead place, until he's soaked in Angstrom's blood, and painted everything around him red. Once again, it's a visual callback to Mark's father beating him half to death, which was Mark's own lowest point.

Whereas, when Deku punches Shigaraki until he disintegrates not only is the violence or horror of Shigaraki's death not acknowledged, but it's played as a triumphant moment where the clouds clear from the sky and the stun starts shining.

In the cartoon Mark killing Angstrom leads to a total screaming breakdown where he has traumatic flashbacks of his dad beating him and pushes himself to break the sound barrier multiple times. It also leads him to making big life changes like dropping out of college to become a hero full time and giving up any pretense of having a normal life. As seen in a scene where he watches Amber from the sky, and is tempted to go down and greet her and just flies off, because Amber represents his connection to his humanity.

Also, Angstrom doesn't even die. He comes back way worse and that's how invinicble war arc starts.

In the aftermath of killing Shigaraki, Deku gets melancholy about not being able to save Shigaraki only to be reassured he did save him in the end. Only to be told by All Might that it's okay because he still saved Shigaraki's heart even if he killed him.

DEKU: "I couldn't save Tenko's life." "I reached out to his heart, and even though his hatred was crushed," "to the very end, Tenko" "was the leader of the League of Villains." ALL MIGHT: "Let me tell you this as someone who has had a near-death experience," "I think it's in the expression on his face at the end." "If there wasn't a crying boy there," "I think his heart was saved after all,"

People also try to convince mark that he did nothing wrong and that there was no helping what he did in a situation like that, but he doesn't let himself believe them.

The ending lines about the last episode of Season 2, are this:

Eve: I'm sorry Mark. It's not fair. You don't deserve this. Eve: You don't deserve this.

Which has a double meaning. Eve is just trying to comfort Mark, because arguably he shouldn't have to feel guilty for fighting in self defense. On the other hand what Mark hears is You don't deserve this in the context of Eve's feelings for him. An alternate timeline version of Eve confessed her love for Mark. Mark was about to bring it up but decided not to. At that moment as Eve embraces and comforts him, what Mark hears because of his own self loathing is that he doesn't deserve Eve comforting him, or her love for him.

Just to clarify I don't think that Mark is crying over Angstrom Levy specifically. In fact over time he's painted to be pathetic in his obsession with revenge, and what he amounts to is just wanting to blame everything on invincible when it was partially caused by his own actions.

However, it's inarguable that killing (or rather seemingly killing Angstrom) deeply impacted Mark and how he saw himself as a hero. It's less about Angstrom, and more about the loss of control, and the realization of how powerful his anger and hatred can get and what that means for him personally.

It also shows us where Mark's priorities lie. Mark wants to be a perfect hero and a perfect family man, and Invincible shows us he can't be both, his desire to protect his family leads him to staining his blood when he was trying so hard to be a good, selfless hero. This is all a part of a deliberate arc where Mark chooses more and more to value his family over being a hero. I'm not going to say whether or not it's the right choice, but it's a choice he makes, as a part of his character development where as he grows up and becomes a father his priorities change.

My point is that this moment has an impactful change on Mark, for arguably the rest of the comic.

Now my question is, with My Hero Academia will the death of Shigaraki Tomura, the series greatest villain and it's greatest victim have an equal impact on Deku's character that Levy's death did on Mark's?