#I will just end things by saying sometimes 'authors' intend for things to go in different directions than fans want or interpret

[antianakin]

I mean. I don't think there IS a "Watsonian" reason that works. I just don't. If I did, this wouldn't bother me as much as it does. If there was one that I thought actually worked, the writing would probably have simply been better. Sometimes, a Watsonian explanation simply DOESN'T WORK and you just need to settle for the explanation that the writers probably entirely forgot about how important it is that the chip DOES NOT CARE about the technicality of a former Jedi because Palpatine wants them all dead without exceptions, especially within that first night. The ones who end up getting captured later to become Inquisitors should theoretically be spared specifically because they AREN'T captured by clones or something (maybe it's stormtroopers, or the Grand Inquisitor himself, who initially brings them in).

This is also just such a small line in the episode that I doubt anybody really thought about it as much as I did. It's a throwaway line, more intended to foreshadow that she's going to be a Jedi again by the next episode than anything else. If they'd just left the line out and we never saw a clone speak to her at all, that would've been one thing, we could've just all come up with our random headcanons as to why Barriss was spared. But they GAVE us a reason and the reason is exceptionally stupid and contradicts information we've been given previously. So now there's no way to headcanon around it, you cannot make a Watsonian explanation that works because it just... doesn't. It doesn't work.

But sure. Let's look at this new headcanon and talk about why it doesn't work, either. Obviously if you like it enough to keep it and it's important to you to have it because you loved TOTE and what it did with Barriss, more power to you, but I hope you don't mind that I'm going to analyze it and break down why it doesn't work on this post about why this line is exceptionally stupid anyway.

Ahsoka ISN'T actually made a general, she's officially a civilian consultant during the Mandalore mission. The only reason she's able to act like a general/commander is because Rex and the 332nd know her and choose to give her that kind of authority over them, but technically, REX is in charge and Ahsoka's only real contribution is that she understands more about the mission at hand. The clones really aren't all that confused about what Ahsoka's actual status is here, they know she's not officially a Jedi, and their loyalty to her presumably does not come from whether she's a Jedi or not.

It also just doesn't work for me that the chip allows for the clones to MAKE their own exceptions like that. If it gives that much leeway, this could be a massive problem for Palpatine. Like if the clones COULD just logic their way out of killing one of them somehow, it opens the door for some of them to survive and escape. And also, the whole point of the TCW scene is to show us that the chip CAN'T be worked around through logic. It should not allow for the clones to be able to even CONSIDER what Barriss did or didn't do and whether this does or does not make her a Jedi anymore. TBB chooses to give the clones a little bit more ability to consider their actions later on, once the chip has begun to wear off more, but in the immediate moment of Order 66 and probably the first few days or weeks afterward, the clones should have next to no autonomy over the choice of whether to kill someone that the chip/Order considers a Jedi or not.

It also seems like that would be a really complicated bit of code to try to make it so that the clones only kill people who a) are officially part of the Jedi Order and b) aren't part of the Jedi Order but ARE Force sensitive and act like Jedi sometimes, but NOT c) aren't part of the Jedi Order and ARE Force sensitive but don't always act like Jedi anymore. It's a lot simpler to just say "all Jedi, past and present."

Personally, I feel like the chip should OVERRIDE whatever the clones would've felt about the Jedi in question, not be BASED on what the clones felt about the Jedi in question. That just leaves way too much to chance and I don't see Palpatine being willing to allow that.

So, you know, have your Watsonian explanation if you want it. I'll just still be over here in my corner talking about why TOTE is badly written and makes no sense. I'm not LOOKING for a good explanation, it's not like I WANT to like this show and it's just this one weird line keeping me from enjoying it (honestly if I liked the rest of it and this was the one line I thought was bad, I'd just ignore it or find it amusing probably). I think the show is bad overall and in general anyway, this just happens to be one moment that I thought was particularly stupid. So even if you DID manage to come up with a good enough headcanon to explain it on a Watsonian level, the rest of the show would still be frustrating and upsetting and bad. The stupidity of the line is just an example of the stupidity of the rest of the writing in the show, it's an example of the greater issue with the writing on the show which is that nobody on the writing staff of this show gave a flying shit about writing something that made any sense or was good and meaningful, to the point that they couldn't even do enough homework to know that this kind of exception for Barriss SHOULD NOT HAVE WORKED.

There was an entire major plot element in the Order 66 arc of TCW season 7 about how the chip didn't care that Ahsoka wasn't technically a Jedi anymore and was forcing the clones to want to kill her anyway.

Like.

It's a pretty important part of that whole story that Ahsoka not being in the Jedi Order anymore DOESN'T exempt her from Order 66. It would've been a pretty boring story if that technicality had WORKED.

But somehow the clones guarding Barriss at the prison are totally fine applying that technicality to her.

I guess they just like her better than Rex and the 332nd liked Ahsoka in the end or something. Ironic.

[neunhofferart]

Howdy, Heidi! You said that some fans picked up things that were done on accident… Were there more scenes like that? Also, were there scenes that you guys made on purpose but fans didn’t pick up / were aware of them? In shipping terms (hihi) and in general terms. Thanks!

I think in every type of media you will inevitably see versions of 'authorial' intent vs audience interpretation that overlap and differ from each other in many ways. (Authorial intent in quotes because in collaborative mediums like film and animation every single person on the pipeline who touches the work probably has a slightly different personal interpretation they're contributing to the final work, even under someone like a showrunner or a director).

Humans are smart and it's in our nature to look for connections and find explainations to questions, so most of the time if someone is putting something down, someone is going to pick it up, so to speak, and a lot of things ARE on purpose.

But this same phenomenon can also lead to us seeing connections in places that even the 'authors' might not have originally thought of while creating the work, and I think that can be pretty neat actually! I don't necessarily think reading alternate interpretations of works is wrong-- it can be very healthy to explore multiple reads of a narrative or a character/character dynamic. On Chaos Theory there were definitely times when we were like 'fans are probably gonna ship this even if it's not the text' haha. Sometimes fans latch onto headcanons you really have no control over. Sometimes things were animated slightly differently from how they were conceived (which is also a natural part of things).

But yes, sometimes I have seen a few other things that were interpreted in slightly different ways from how they were directed or written verbally, but I'm personally of the opinion that it's more fun to leave some things visual and open to a little interpretation rather than beating the words over the audience's head and having the characters constantly announcing 'I'm feeling this because of this!' And going 'this is the only way to interpret the show and the characters and if you don't you're wrong!'

It's usually not a huge deal. I think even as we were working sometimes I'd make connections to myself that weren't necessarily spelled out to us and go 'oh, this is a throughline for this character actually!'

Like for example- if I remember correctly, the original direction behind how Kenji reacted to Ben's apparent death was that it was supposed to the first time he'd ever seen someone he really KNEW seemingly die right front of him, and being unable to do anything about it deeply affected him. Ben is a very important turning point in his character development regardless of which way you read it.

And I think this is actually something that just continued to stack onto his character throughout both shows whenever any of his friends lives are seriously in danger. In Camp when he's still unable to do anything but comfort Sammy while she's poisoned, to deciding it's too dangerous not to trade Wu's laptop for Brooklynn, to eventually throwing himself between the spinosaurus his dad is about to kill Darius with and choosing his friends over his own father and being willing to die with/for them... and then in Chaos Theory it kind of reboots all over again with Brooklynn dying and then his dad dying right in front of him, and his complex of not wanting to be useless and trying to do whatever he can at the expense of even himself to keep the loved ones he has left safe is kicked into overdrive.

I think there are a lot of things like that where the intent is not always verbally spelled out, but the more important thing is that it's still (hopefully) making you feel something.

[conqueenror]

People often forget the fact that the main character/cast in the story doesn't have to believe in the right thing. They can be very wrong, they can die while believing in something very wrong. And it's not just the "tragic" very wrong, nor the "badass villain" very wrong, it is actually something disgusting and inhumane, that makes people feel terrible knowing that in some story, the main cast can have awful morals. In some stories, no character, not the main cast nor the villain, may have the right insight on something. And people will automatically assume that the story and the author are terrible, because everything is so bad in the story. Except, this makes people ignore said story itself. The right belief may actually be hidden, and only uncovered by seeing what these characters, main cast or villains, get in the end. You can't know that running wild on the rocky ground is a bad idea, until you fall, or hear it from someone else.

[vexwerewolf]

Should I read homestuck

tl;dr: no

actual answer: yes, but with some extremely important caveats.

Firstly, because Adobe shitcanned Flash, you can now no longer experience Homestuck in the form it was intended upon release... unless you download the Unofficial Homestuck Collection. This act of unbelievable, nay, saintly generosity by Homestuck's most dedicated fans allows you to experience Homestuck as it was intended - as close as is humanly possible.

"As close as is humanly possible" is the key phrase here. One indelible part of the original Homestuck experience was UPDATE! Homestuck would sometimes go weeks or even months (and later, years) between updates. I wasn't on Tumblr back in the day, but at the peak of Homestuck, even if you knew nothing else about it, you'd know when an update dropped because Tumblr's net traffic would increase something like three to fourfold. People would go apeshit bananas about whatever new revelations the Huss would drop on us.

You also need to realise that Homestuck is a product of its time and while its takes on sexuality and gender identity was pretty progressive (for its time), Huss did use the r-slur a bunch.

While we're on the subject of the author, Andrew Hussie (of whom my current understanding is that they have not changed name but go by they/them nowadays) is, in the most diplomatic possible terms, a very unique person. They are, at times, a visionary storyteller with genuinely fascinating ideas. At other times, they come off as kinda spiteful towards their readers.

Without meaning to dip into spoilers, some story beats seem (in my opinion) almost intentionally calculated to upset, irritate or mock certain fans. It never rises to the sheer vicious contempt that Steven Moffat had towards Sherlock's fanbase, but it does leave a bad taste in my mouth whenever I go back.

Additionally, and this is where a sort of birds-eye-view spoiler is unavoidable, the story suffers from the Game of Thrones pitfall of repeatedly increasing its own complexity by adding new plot threads without resolving existing ones, eventually leading to fatigue on the part of both the reader and the author. The arcs of a lot of characters just straight up get abandoned, while a couple of characters take an unnecessarily large amount of screen time.

There's one character in particular that the author openly states within the narrative (the author exists within the world of the story. It's... a whole thing) that they favour, and whose behaviour the story is warped to accommodate. You'll know exactly who I'm talking about almost the moment they show up.

Another reason I say that it's not really possible to read Homestuck as it was originally intended is because a lot of the shit that happens in it fits into the zeitgeist of the internet at the time any individual update was written. There's a whole section in the late middle third that is inextricably and very specifically tied to how it was like to use Tumblr in 2012.

Additionally, a lot of things have soured with time. There was the whole Hiveswap debacle (it was first announced in 2012. We got the first act in 2017. We got the second act in 2020. We do not even know if the third act will ever come out.). There were the legal threats. There were the Epilogues and Homestuck 2, which were... how do I put this? Not universally liked. There's been nearly a decade of discourse since Homestuck ended, and a lot of things haven't grown better with age.

All of that being said.

You should read it.

I cannot express to you just how big an impact Homestuck has had on internet culture. Even people who claim to hate Homestuck unconsciously use slang that it invented. Its unique ideas on storytelling, character design and narrative chronology have, in both subtle and unsubtle ways, changed the way millennials and Gen Z tell stories.

A lot of people were inspired to tell stories because of Homestuck - one example I always give to Lancer players is that Kill Six Billion Demons started as a comic on the MSPA forums (before it was homestuck.com, it was MS Paint Adventures), so Homestuck is in an indirect but demonstrable way responsible for the existence of Lancer. The sunglasses that Gideon Nav from the Locked Tomb wears have been explicitly stated by Tamsyn Muir to be Dave Strider's. Toby Fox made music for Homestuck, and worked on large parts of Undertale while living in Andrew Hussie's basement.

We also know someone in the Bluey creative team is a Homestuck, because...

There are subtle but direct references in Bojack Horseman, Hazbin Hotel, Steven Universe, Adventure Time - and those are just the ones that it's easy to prove! In a more general sense, I think there's a lot of cartoon series, movies, games, etc. that would either be very different or wouldn't exist if Homestuck hadn't happened.

It's certainly influenced my work.

I think, being very cautious to manage your expectations, that you should read Homestuck. At the very least, a lot of things people say on Tumblr will start to make, if not sense, a different kind of nonsense.

[writtnbyhan]

NFWMB.

PAIRING: bang chan x female!reader

TAGS: protective chan, idol!chan, non-idol!reader, established relationship.

WORD COUNT: 1945

PROMPT: person a gets into a heated argument with someone. person b starts threatening them, so person a picks up person b and carries/drags them out of the room before anyone gets hurt.

warnings: what the prompt says, lol — arguments (not between chan and reader). very very minor violence (arm grabbed), bruising, swearing. Let me know if I missed a warning.

author's note: well, baby's first post. I really hope someone likes this ? my goal is to participate in nanowrimo in my own way so expect weekly posts from yours truly. I was nervous about what to write about bc of it being my first post but I needed to write something or I'd never do it. starting with chan feels right, though I wish I can get to write more fluff soon 😭 this was fun tho! I really like protective and possessive chan<3

You didn’t intend for him to hear. Mostly, because you thought you could handle things on your own, but also because you knew it would somehow end up like this.

You have been visiting the building where the boys work for as long as you remember being in their lives. It’s not your fault, given that they spend almost every waking moment there, working. And the one whose time was taken the most by it happened to be your boyfriend. It was a Saturday and he was working, which wasn’t uncommon, but it also wasn’t healthy. You let it slide sometimes, when you knew time was pressing on him and he needed to be there, for his own peace of mind. But everything was ready for the comeback, there was absolutely no reason for him to spend his weekend locked up in that so-familiar room.

So, you did the only logical thing: went there to drag him out, knowing only you where capable of doing so. No amount of puppy eyes from his kids could do what you could with just asking — you were his girlfriend, after all, it was expected that he’d have a soft spot for you.

You felt the problems creeping on you as soon as you stepped foot in the building. There were new people there, new workers. You hated when new staff started working, because they were still too nosy, and because they would ask too many question, some of which you wouldn’t be able to answer without one of the boys by your side to prove your credibility. It was okay, though, you could only imagine how many girls could go to the front desk and claim what was your truth — “I’m looking for my boyfriend”.

Luckily, the girl at the front desk, Sun Hee, already knew you. She only smiled at you when she saw you enter the building, and her tired smile should’ve been warning enough. You walked to her with a matching smile of your own, she knew you were there to pick up a overworking boyfriend, but you still needed to sign your name in the records.

“hi, lovely! what’s got you tired today?” you asked, curiosity so strong you couldn’t help asking.

“new staff’s first weekend. sometimes I wonder how they got hired in the first place”, she answers truthfully, sighing. She sends you a look you know it’s a warning — beware, idiots walking around feeling entitled!

You sigh, too. That’s going to be troublesome, especially today.

“hope I don’t get to met them today, at least until I find Chan. The boys didn’t warn me, or I would have brought one of them with me”

She showed a sympathetic smile, nodding.

“Prince charming is on studio 3, same as always”, she rolls her eyes playfully.

It says something about your overachieving boyfriend that not only the staff knows where he is all the time, but also that you have almost made friends with said staff. God, you needed to convince him to spend less time working.

After thaking Sun Hee and promising to chat more later, you walked to the elevator, setting to find Chan. You could amost picture him — black hoodie, black beanie hiding his messy curls, and headphones in. You smiled at the image in your head, a much too familiar one, one you loved so much.

Smile still present in your face, you stepped out of the elevator on the corresponding floor, checking different doors that had lights on. You were here to pick up Chan, yes, but you didn’t rule out finding Hyunjin or Felix overworking themselves too. The blondes were quick to follow their leader to the building any day, claiming they always “needed” the extra practice. Jeongin would be just as annoying as they were to you, if it wasn’t for his baby status, which meant everyone took a little more care of him (Minho more than anyone, checking that the boy didn’t overwork himself regularly).

Of course, checking every room as if you didn’t know where you were going to may have looked suspicious, you will give the man that. You were glad he was doing his job, just — well, maybe you were at the wrong place at the wrong time, or maybe he was.

“Excuse me, miss, who are you and where are you going?” He was at least 30 cm taller than you, and he was almost as buff as Changbin. You weren’t intimidated at first, you knew your presence had been cleared for, you had a right to be there, and you had got through the entrance desk, so he must know you were allowed there, right? Maybe he was just trying to help.

“Oh, hi! I’m Y/N. I’m looking for my boyfriend and checking to see if one of his friends is here as well”, you explained.

He stepped closer, almost invading your personal space. You took two steps back.

“Who are you looking for?”, he was eyeing you as if you were suspicious, a threat even. You, who was dressed in a skirt and probably looked like a mouse next to him.

“My boyfriend”, you repeated, “Christopher Bang Chan. He is in one of those studio rooms”, you added matter-of-factly.

“Ma’am, I’m going to have to escort you outside. You shouldn’t be here.” The man said, loudly, like he wanted to be heard. Ah, you thought, he is one of the new ones. It was common, you have seen it happen one too many times — new staff is always trying to prove themselves as good.

You smiled, though you were a little intimidated now. After all, you were alone in a hallway with the man who kept getting closer.

“Why is that? I am allowed here”, you tried to keep calm.

“Look, I don’t know how you passed the front desk, but fans should not be inside the building!”, the man yelled at you, his arm reaching out until he could take you by the wrist, his hold tight enough to bruise.

“Hey! You’re hurting me, stop it. Let me go!” You started struggling, trying to force your arm out of the man’s hold.

“Stop fighting or I’ll call security”, he threatened. You were about to tell him to do so, you’d wait by him until security came there and showed the man that your info was in the system and you were, actually, allowed there. You didn’t get a chance, though, for your boyfriend’s voice reached your ears as soon as the man stopped talking.

“You let her go or I’ll call security myself”, Chan’s voice showed his anger, and as he got closer you saw the determined look in his eyes that made you worry a little. You didn’t doubt Chan was capable of hitting the man if he didn’t let you go right now.

The man, apparently, didn’t notice that, for he did not let go of your wrist.

“I’m so sorry, sir, I’ll have her removed from the building immediately, I don’t know how she got inside.” He was tugging at your wrist, to which you kept quiet. If you expressed how much it hurt, the situation could escalate more than you wanted it to.

“She got inside because she’s allowed to. Now, I said: let her go.” Chan’s voice was ice cold, almost spitting the words at the man’s face. Finally, your arm was free, and you rushed to take your own wrist so as to cover the red marks, evidence of the strong hold the man had on you.

“Why doesn’t she have a pass, then?”

“She doesn’t need one because she’s not a guest. Did you even care to ask about that or check the system? You know, that type of irresponsible behaviour could get you fired — you can’t just go around the building threatening and grabbing people by force!” Chan’s voice got louder near the end.

“It’s okay”, you quipped, putting a hand in Chan’s chest as an attempt to calm him down. He was protective, you knew as much, but he was also a lovely person who you knew didn’t want to get anyone fired. Still, you knew he’d do something like that for you if you asked for it.

That was a wrong move, apparently, because it meant letting him see the marks on your arm.

“what the fuck?” his words were whispered, but it was obvious the anger that came with them. “Man, what is wrong with you? You should have checked before bruising her arm like that! What gives you the right to decide who is and isn’t allowed here?! That’s the front desk’s job, if she’s on the fucking third floor, then I think it’s fucking obvious she passed security. I need your name for I will have to file a complaint about this, grabbing someone like this is violent and no excuse of security can make it right because you are not supposed to even touch here — if you think she is not allowed here, you call security, you do not bruise my girlfriend’s arm.”

Chan’s voice is loud, and he is so close to the man you could tell it is some kind of threat, or maybe show of strenght. The man’s jaw was tense, as if he was ready to argue with the idol himself. You looked around the hallway, not knowing what to do or how to stop this. The man that had grabbed your arm clearly felt too entitled for his own good, and you worried that he might try to turn things physical.

Lucky for you, he didn’t even get a chance to answer before you heard a door open and close quickly, someone rushing out of one of the practice rooms.

You think you have never been happier of seeing the freckles in Felix’s face.

“Chan, everything okay?” sunshine boy asked, putting his arm around you as soon as he was close enough. His voice seemed to get Chan out of whatever state he was in, for he took a few steps back, still not breaking eye contact with the other man.

“Yeah, this dude just grabbed y/n’s arm and bruised her wrist because it’s apparently his first week here and he already feels too entitled.”

Felix looks at you, looking for something in your eyes, before getting closer to his friend.

“Okay, let’s go grab our things and go home to see if she needs to put some ice on her wrist”. He doesn’t let Chan answer before taking his hand with his smaller one, intertwining his fingers and almost dragging him out of there. You’re quick behind them, taking Chan’s other hand to give him some peace of mind.

Felix looks back at you and you smile in thanks. You know your boyfriend is way too protective, but a situation like this had never happened before. It’s good to know he’d do anything to defend you, but you still didn’t want him to get in a physical fight in his workplace.

“Don’t you dare think this gets any of you out of the hook for working on one of your free days, boys.” You reprimand them, hands still intertwined while entering the studio. Chan’s calmer now, his cheeks blushed with what you guess is something akin to embarrassement; you know he doesn’t like getting like this, but sometimes his emotions overpower him. You kiss his cheek, deciding to not comment on the subject until he does so himself. After all, you achieved what you came here to do — collect whichever stray kid had wandered their way to work on a weekend and get them home.

[linkspooky]

DOOMED SIBLINGS: THE TODOROKIS VS. THE FIRE NATION ROYAL FAMILY

I received an ask in my inbox about how Zuko doesn't owe Azula any forgiveness. Truthfully I wasn't even going to respond because this isn't an avatar blog, but then I watched this video.

Not only do I disagree with the basically everything in this video, but I am going to make the argument that both Zuko' and Azula's arcs are both incomplete with the way the show left the two of them in the final showdown.

In order to make my argument I'm going to compare Azula and Zuko's relationship in avatar to Shoto and Toya's relationship in My Hero Academia and use the latter as a more positive example.

Unnecessary Redemption Arcs

The common fandom opinion I want to argue against is this idea that Azula's ending is a perfect tragedy, and therefore doesn't need to be expanded upon. There's also a sentiment that redeeming Azula would somehow ruin the impact of this perfect tragedy.

I'm about to argue against both of these points.

Azula's arc doesn't work as a tragedy.

Because of this her arc is unsatisfying and unfinished.

I'm going to address the first bullet point but before that let me add another disclaimer. The reason why I think Azula's arc isn't an effectively written tragedy isn't because I like Azula.

Before we even get into the My Hero Academia comparison let me bring up something completely different. I do like Azula, but I like Terra Markov from Teen Titans a lot more and I would not change a thing about her tragic end.

AZULA'S ARC IS NOT A WELL-WRITTEN TRAGEDY

Terra in the comics is what a lot of people accuse Azula of being. She is stated in the text and by her creators to be an unfeeling sociopath. She was also never intended by her creators to be redeemed.

[About Terra] The very first time we see her, she’s trying to blow up the Statue of Liberty. It’s just that all the fans assumed because we went out of our way to make her cute — but not too cute, with the buck teeth and everything — everyone would assume that she was gonna become good by the end and that was never the case. First thing, we made a promise that day that we would never renege on our view that she’d never become good. It’s sometimes hard to do that with characters you like. You want them to become good or something like that. But we never liked the character enough—because we knew what we were doing with her—we never allowed ourselves to fall for the character. Because that’s bad. That’s bad storytelling. You’re doing what you want as a fan at that particular point, not as the creators. T

Now let me clarify, both creators of New Teen Titans say some nasty things about Terra and don't recognize her sexual abuse, but here's the thing. You don't have to read a story 100% the way the author intended, sometimes the story says one thing and the text says something different.

I am going to use Judas Contract as an example of a story where the character from the start was never intended to be redeemed and why that's a positive in this case.

Terra is a teenage girl, the bastard daughter of the king of Markovia and a random American woman who presumably has had no stable home her entire life because she's working as a mercenary at fifteen. She teams up with a man that is in his mid fifties and even starts a sexual relationship with him (this is statutory rape she cannot consent) and Deathstroke uses her to infiltrate the Teen Titans and learn as much as possible.

Terra is sent to live with the team and spy on them for several months. The whole time she only ever engages with them in a fake spunky persona, and never shows her real cutthroat self. She leads Beast Boy on in a fake romance to make him trust her and secure her place on the team. The way you'd usually expect this arc to go is that Terra would grow fond of the team and be torn in her loyalties.

Yeah, that never happens.

Terra loathes the Titans. In fact she's developed a superiority complex about her meta human abilities and she doesn't understand why anyone would use their powers to help others. She despises the concept of superheroes in general, and because of that never bonds with any of the Titans. Her feelings never change from start to finish, because her creators intentionally wrote her as a character that can't be redeemed.

Terra is written to be a psychopath, but even with that intention in mind there are scene that shows a greater range of emotions. She has what could amount to a trauma flashback when Beast Boy too aggressively flirts with her and tries to kiss her and she reacts violently, trying to bury him under the earth.

Let's go ahead and interpret Terra as what is used as the fictional definition of a "sociopath" that is someone who feels no bonds with other people, someone with shallow emotions and someone devoid of guilt. Even if we interpret her that way, her story is still meant to be read as a tragedy.

Terra succeeds in her mission of infiltrating the Titans. Slade captures most of them, and the only remaining member Dick Grayson goes missing. Dick Grayson then unites with Slade's son Jericho, and the two of them team up in order to rescue the rest of their friends.

Even after all she's done the Titans try to make pleas to Terra during the final battle, which she not only rejects but responds to with violence. Which only confirms what I said above, Terra never grew to love them, she never regretted her actions, she only ever engaged with them with lies.

(Terra always lies, Terra always lies, Terra always lies).

Terra is declared by Raven to be devoid of emotions: "Her thinking is unlike ours. She feels no true love or hate. Her soul is corrupt. What she does is done without remorse."

Even after Raven declares this, however she still pleads with Terra to stop because she's going to hurt herself. Terra feels Slade betrayed her because he favored his son Jericho over her, so she decides to take both Slade and the Titans down. As the Titans fight her she begins to mentally fall apart ignoring their appeals to her and lashing out at everything around her. Eventually she makes one last attempt to everything around her, but the Titans escape and she only manages to bury herself.

At no point in the fight do the Titans give up on trying to reach her even as she's loudly screaming how much she hates them. Even after she's buried and it looks like she's dead, Gar and Donna both try desperately to dig her up on the slim hope she's still alive. When they find the body they even give her a funeral afterwards, even though they all think that Terra was beyond redemption.

Even the prose narration that accompanies her death is incredibly melancholy and bemoans her fate, at the same time as it calls her a outright sociopath.

There's no reasoning with her now. However slim, whatever sanity Tara Markov possessed is gone. Now there is only primal hatred! Hatred born, nurtured, and fanned. Hatred that festers and grows without care, without feeling, without plan. her pursed lips part and the sounds which echoes force are garbled and inhuman. Hot, boiling blood gushes wildly from the earth's open wounds, its skin fractures and cracks, and if a world could cry, it surely would. Her name is Tara Markov and she is little more than sxiteen years old, and due to the fault of no one but herself she is insane. No one taught her to hate, yet she hates without cause, without reason. No one taught her to destroy, yet she destroys with glee, with relish. Don't look for reasons which do not exist, plainly Tara Markov is what she is, and she has taken a great power and made it as corrupt as she. Hers was the power over the earth itself she could have brought life to deserts, hat to the frozen tundra, food to sraving millions. She could have damned raging rivers, and tunneled water to packed lands dry and dead. her powers were limited only by the mind which controlled them. A mind which sought not hope, not love, not life, but death.

If you go with the text that she is just a sociopath beyond redemption who hates and hates and hates for no reason, the narrative still mourns her because a sixteen year old with her whole life ahead of being consumed by hatred and then dying because of it is in fact sad.

If you read into the subtext then you can argue that the events of the story, contradicts what the narration is telling us. Terra is being sexually groomed and groomed as a child soldier by a man who is much older than her, even if she thinks he's a partner he clearly has all power in the relationship.

If you think about it that way then Terra is the ultimate bad victim. She doesn't cry and call for help as a victim of sexual abuse, instead she tries to claim power for herself, she manipulates, and she destroys any chance she had for a genuine relationship because she only sees all relationships as transactions she can gain or lose from.

Even if you only go with the first interpretation, the narrative still remains tragic because the Titans themselves did not want to give up on her, they did not want to watch this sixteen-year-old girl destroy herself. They never stop reaching out for her and it doesn't work, because there was no way out for Terra but death.

Here's the thing I don't think Terra's status as a sexual victim automatically means an ending where she dies is offensive. It reflects a reality that victims like Terra often go unseen because they don't present their victimhood in palatable ways, and by the time anyone notices it's far too late. Sometimes tragedies are meant to reflect a reality where many people do not get saved.

There's two reasons that Judas Contract works as a tragic story. Number one the creators planned Terra's ending right from the beginning. Which meant they never gave her any moment where she shows that she's redeemable. There's no genuine bond between her and the titans, no wrestling with the guilt of her actions, nothing.

Number two, Judas Contract is Terra's story from beginning to end. It begins with her betrayal of the Titans, and ends with her death. The death is also brought upon herself by her fatal flaw her hatred, which is what makes her the protagonist of a tragedy. Tragedies are stories where heroes are undone by their flaws. Terra also goes out on her own terms. She buries herself underneath her own rocks. Her death is a direct consequence of her inability to let go of her hatred. Terra's not fridged for anybody else's arc, she retains her agency until the exact moment of her death.

To simplify into bullet points, Judas Contract works because:

The creators thought out what they wanted to do with Terra.

Judas contract is Terra's story.

Now, getting to the part where we actually talk about Avatar, and I start complaining about that awful, awful video.

AZULA'S ARC IS NOT WELL THOUGHT OUT

I just went on a long tangent on how Terra, a character written to have no redeemable qualities can still be tragic. How the creators marked her as clearly doomed from the start, and how she brought about her end on herself, how there no redemption for Terra. How this girl had no real chance, and how regardless of the fact Terra is a lil baby sociopath her fall is still tragic because of how well structured the tragedy is surrounding her.

It's awful to kill off a sixteen year old victim of sexual abuse, but the ending just fits because Terra represents a certain type of bad, unsympathetic victim who doesn't get saved.

Azula's arc isn't as well structured. The ending does not fit. I'm going to start by refuting some points in the awful, awful video I did not like.

"Maybe it's okay if Azula's story ends where it does in the series we would separate how we would treat a real 14-year-old girl from a villain in a series, ad that's why any redemption arc isn't need i a story after all. A character needs of deserves a redemption arc when it becomes the most meaningful way to explore their character and place in the story, but a character deserving redemption usually comes before the story really needing it, and I don't think Azula's done anything to deserve it yet. They've got to exhibit some willingness and action to change..."

So the main reason I'm using Terra as my first example is because Terra is the kind of character that Hello Future Me is describing. Terra was written with the specific intention she'd never experience a change of heart, all of the friendships she makes with the Titans are fake, she very loudly experiences no remorse, or even self-reflection over what she is. Terra's pretty proudly a monster and she never experiences any kind of self-doubt or regret over what she's become.

I can disprove right away Hello Future Me's blanket statement (with no actual cited examples, just trust him guys) that Azula never did anything to hint she may deserve redemption. That suggests Azula is an entirely selfish character who uses, manipulates and thinks she's right and worst of all is comfortable being the way she is, and therefore incapable of doing the self-reflection necessary for change.

Azula does show the capacity to do selfless actions several times in the narrative, and even consider the feelings of others. There's the apology scene with Ty Lee and the way she interacts with her friends in general with the Beach where when she's not fighting in a war or trying to complete a mission for her father Azula 1) interacts with her friends in a normal way and 2) seems to express a desire to experience normal relationships not the hierarchical ones she's experienced all of her life.

However, that's not the example I'm going to use as her save the cat moment. I generally intend to interpret that as a sign that even though she treats Mai and Ty Lee as subordinates and that power she holds over them eventually leads to them leaving her, their friendship isn't just Azula abusing them and lording her authority over their heads 24/7.

No, Azula's save the cat moments all revolve around Zuko. Which is funny, because the entire fandom seems to regard Azula as Zuko's evil little sister who exists to do nothing but torment her.

The first and biggest is Azula deciding to bring Zuko home in Ba Sing Se, and telling a lie to her father that he was the one to slay the avatar.

Ozai: I am proud of you, Prince Zuko. I am proud because you and your sister conquered Ba Sing Se. I am proud because when your loyalty was tested by your treacherous uncle, you did the right thing and captured the traitor. And I am proudest of all of your most legendary accomplishment: you slayed the Avatar.

Zuko: [Shocked.] What did you hear? Ozai: Azula told me everything. She said she was amazed and impressed at your power and ferocity at the moment of truth. [Inspired partly by this post]

Now the show seems to regard this action as Azula being an evil temptress who is there to tempt Zuko back to her side with everything he thinks he ever wanted.

That's only if you regard it from Zuko's perspective.

Think for a moment from Azula's perspective. Number one, Azula is someone thoroughly indoctrinated into Fire Nation propaganda who measures her self-worth based on 1) military achievement and 2) her father's approval and assessment of her talents. In Azula's own logic (wrongheaded as it is) she's helping Zuko. She's bringing him back home with his place in the line of succession restored and his father's approval.

Azula doesn't benefit from this gesture at all, in fact if her father discovers the lie she has as much to lose as Zuko does.

Now Zuko insinuates that Azula only brought Zuko along and told her father that he was the one who killed the avatar so she could let him take the fall if the avatar turned out to be alive.

However, if you look at the actual order of events that doesn't make sense. Azula saw the avatar die, she didn't know about the spirit water, and therefore had no way of knowing Aang could come back. In fact, it's Zuko who 1) knew about the spirit water and 2) decides to keep the spirit water and the fact the avatar might have survived a secret that is throwing Azula under the bus. After all she has as much to lose as he did and instead of sharing that information with her he decides to keep it all to himself.

Now Azula does imply that if the avatar were to turn out to be alive all of Zuko's glory would dry up, but this is only after Zuko 1) throws accusations at her and 2) makes it's pretty clear he's lying to her putting her on the defensive.

This is also a scenario where Azula doesn't have much to gain by bringing Zuko back, if you look at it from her perspective. If Azula just lets Zuko rot in a ba sing se prison, then her claim to the throne is secure. With Zuko back he's restored in the line of succession. She also, when making the decision to invite Zuko to her side probably didn't need him for her plan to succeed.

There is a dramatic moment of Zuko choosing to side with Azula over Katara which turns the tide in Azula's favor, but Azula can't see into the future and therefore wouldn't be able to predict that happening. If you look at it from Azula's perspective she 1) successfully infiltrated the city, 2) already had the Dai Lee in her pocket. She likely already thought she had the city secure at this point so her decision to extend a hand out to Zuko is therefore likely motivated by selflessness instead of self-interest.

That's important because usually when Azula usually only gives her help to others if it also benefits her in some way. Azula might genuinely see her recruiting Mai and Ty Lee to her side as a member of the royal family extending her favor and giving them status and security in their positions but it has the underlying motivation of 1) she keeps them in a position to beneath her and therefore in her complete control.

Azula will interact with Mai and Ty Lee like friends on the surface, as long she maintains control over them, but if they do anything to something that displeases her she'll do anything to regain her control.

Mai: I thought you ran off and joined the circus. You said it was your calling. Ty Lee: Well, Azula called harder.

This is set up in Azula's very first interaction with Ty Lee. Azula greets her like an old friends, Ty Lee even seems happy to see her, but the second Ty Lee tries to say no to her Azula goes to extreme lengths to "persuade her". Azula's friendship with Mai and Ty Lee is an abusive friendship because there is a power differential and even if Azula feels genuine affection for them both it's clear they're not allowed to say no. Mai and Ty Lee are put into positions where it's in their best interest to please her, and live in fear of the consequences if they don't do just that.

Here's the thing, I'm not arguing that Azula didn't deserve any consequences for her actions. I'm arguing that the setup doesn't match her eventual ending. Azula is set up to have Mai and Ty Lee leave her from the very first scene that Azula interacts with Ty Lee. It's satisfying because the set up matches the pay off.

It's also tragic because it's Azula continuing the chain of abuse. The video isn't entirely wrong (which is why they came to the wrong conclusion frustrating).

Azula's fall is about how differenting parenting styles can a child. Ozai's affection is exchanged for being useful. Something Azula would go on to repeat with her friends, whereas Iroh's affection is something freely given with patience for imperfections and failures, something Zuko goes then on to repeat.

It's like... there it is it's so close. Here's the thing, Azula is set up for a tragic falling out with Mai and Ty Lee (and one she deserves) but the set up is different with Zuko. Azula's save the cat moment revolves around Zuko, and her genuine attempt to bring her brother home.

Yes, the first time Azula interacts with Zuko in season 2, she tries to take him home by force. However, by the ending of the season Azula's perspective on the matter has obviously changed because she begins by trying to bring him back as a prisoner, and by the end of the season invites him back as an equal.

There's no moment in Season 3 where Azula treats Zuko the way she does Mai and Ty Lee (unless Zuko provokes it first and puts her on the defensive) in fact most of her interactions are either them interacting normally (such as when Azula goes to find Zuko at their old beach house because she knows he'll be there and advises he leave instead of dwelling on their depressing memories) or Azula deliberately trying to look out for Zuko such as when she advises him not to go visiting with Uncle because it'll make others suspicious.

On the other hand, Zuko never at any point looks out for his sister the way Azula is demonstrated looking out for him. He doesn't say, try to tell her where he's going on the Day of Black Sun, or try to convince her the fire nation is wrong. There's a scene in the later part of Season 3 where Zuko is watching Azula fall to her death while sitting on a flying bison and not only sits there and does nothing about it, but sounds disappointed when she doesn't hit the ground and become an Azula Pancake.

That's pretty much the opposite of a save the cat moment. It's a "let the cat fall to their death" kind of moment.

Yes they were enemies at that point, but Zuko's the one who's supposed to learn that affection is something freely given with patience for imperfections and failures, something Zuko goes then on to repeat.

How exactly is he doing that in this scene?

The thing is... this setup doesn't have to be bad. Of course Zuko has trouble has trouble empathizing with Azula, he doesn't even think about sending a letter to Mai, Zuko's shown at this point to be like a healing abuse victim who's understandably focused on himself.

This in fact could be excellent set up with step 1) learning what genuine love and forgiveness is and 2) demonstrating those two things by applying it to others.

However, that's not where we got. We got Zuko watching his sister have a complete emotional breakdown, crying and screaming while chained to a grate and looking somewhat sad.

And once again to bring Terra into this, Terra is what Stay at Home and parts of fandom argue that Azula is. Terra screams at the top of her lungs how much she hates the Titans, how much she was always lying to them, and the Titans STILL try to reach Terra with words, try to de-escalate the conflict, when she's about to bring the rocks falling down on herself warn her she's going to hurt herself, and then when she's buried under rubble try to dig her out begging for her too still be alive.

Terra who's intentionally created by her writers to be as hatable as possible, is shown more compassion by the heroes in her ending than Zuko ever does to Azula. They also give Terra multiple opportunities to change until literally the very last minute, which Zuko doesn't do either.

What's set up is Azula has this save the cat moment with her brother, that Zuko is pretty much the only person she doesn't treat like a subordinate in the story (because she just like Zuko has a craving for familial love she tries to earn from her father). However, her ending with Zuko just taking her down doesn't fit that setup.

Azula's ending only fits if you consider her arc entirely from Zuko's perspective, which is the underlying issue. Azula's not the protagonist of her own tragedy, she's a plot object that's used to benefit Zuko's arc.

Azula's is written to have a downfall, the same way that Zuko loses everything at the ending of season 1 b/c of his inability to give up on the obsessive search for the avatar (and his father's love with it). Azula is written to be left by Mai and Ty Lee (this is the strongest point of writing when it comes to her since it comes from the beginning).

However, she's not written to be left completely alone and insane with the only empathy being shown is that her brother looks kinda sorta sad. That's only good if you view her as an object to further Zuko's arc, because isn't the ultimate culmination of Zuko beating his sister who has always been ahead of him at life? Azula needs to torn down completely without even some small glimpse of a hope of recovery so Zuko can be built up even moreor at least the writers of avatar seem to think so.

However, even Azula just existing for Zuko's growth and character development doesn't have to necessarily be a bad thing. This is where we get to MHA, which does the tragic siblings and the final Ag Ni Kai about 1000 times better with Shoto and Dabi.

THE GOOD

The comparisons between Shoto and Dabi to Zuko and Azula are made pretty often by the fandom. Shoto has a scar, Dabi has blue flames. Shoto has an arc about healing and learning what it means to be a hero, Dabi's arc is about self-destruction.

Dabi's not the center of his own story, he exists to foil Shoto and help Shoto reach the endpoint of his character development however that's not necessarily a bad thing. These are both two pairs of tragic siblings, the main difference is that MHA doesn't feel the need to tear down one sibling in order to build up the other. In fact, the final step to Shoto's arc is HELPING Dabi, not PUTTING HIM DOWN.

Not only that but the decision to help Dabi is a decision that Shoto makes on his own, and him going against the tide of a society that has already given up on Dabi and would much rather have Shoto shoot Dabi like a mad dog. Which makes the decision to do so even more powerful and emblematic of Shoto's growth.

Now you could say that Shoto and Zuko are too different to compare their arcs, Zuko has a redemption arc, and Shoto has what most people would probably term a healing arc. Shoto starts out the series as a hero.

However, this is what annoys me about the redemption arc debate. A redemption arc is really just a normal character arc. However, calling it redemption drags things like morality and forgiveness into the debate. if you take remove the discussion about moral philosophy both Zuko and Shoto have character arcs where they start the story defined entirely by their home situations and their father's abuse (hence why they have big obvious scars on their face), recover from their trauma, and go on to find an identity outside of their father and form healthy non-abusive connections with others.

In fact I'd see the theme of both arcs are the same, to literally find balance within themselves. Shoto is divided quite literally into right and left sides, fire and ice, and even seems to view himself as half of his father and half of his mother. Zuko is someone who's permanently marked and dishonored by the burn scar on his face. He suffers from an internal imbalance as well. Iroh says that Zuko is the descendant of both Roku and Sozin and therefore both pathways are open to him (but wouldn't that apply to Azula too). Zuko says to his father that the fire nation has destroyed the balance to the world and he's going to leave to assist the avatar in order to fix it.

Shoto's balance isn't just about fixing his internal trauma though, it's also about finding a balance between his family which has defined his entire life up until this point, and his desire to become his own hero not the hero his father groomed him into.

It's why the culmination of his arc is Shoto reaching out to save his family member Toya, because it's the ultimate balance in wanting to heal his family, and also the kind of hero he wants to be, someone who saves and brings peace to others instead of just violently putting down villains. He can bring peace to his family and become his own hero in one action.

However, let's go back to the beginning of Shoto's arc, because saving Toya as an endpoint to his arc is set up pretty early on.

Shoto's arc begins with Deku, a stranger breaking down Shoto's walls as an outsider in order to allow him to look past his own trauma and recall for the first time what he wanted outside of his resentment towards his father. This sets up the idea early on for Shoto that sometimes you need outside interference, help you didn't ask for, especially when you can't see outside of your own problems.

What Deku brings about ultimately is a change of perspective, Shoto's so hurt by the memory of his mother throwing boiling water in his face and everything that came after that he can't recall the memory of her telling him he could be who he wanted to be.

But, you want to be a hero right?

Shoto takes away two things from this arc, sometimes you need help even when you're not asking for it, and sometimes a change in respective is required in order to take the first step forward.

He goes to demonstrate these things multiple times, but here's two exaamples. The first Shoto demonstrates immediately after the tournament arc. When Iida is about to go down a dark path and commit a revenge killing on Stain. When, as a result of that IIDA is paralyzed and about to die in an alleyway, it's Shoto who both notices Midoriya and Iida are missing and shows up in the clutch. He's practicing the same thing that Deku taught him in the last arc: Giving help that's not asked for is what makes a true hero.

He even mentions the second idea, that a small change in perspective can be all it takes to save someone, and he wants to do for Iida hat Deku did for him. His words are the one who convinces Iida to stand back up again when he's paralyzed.

If you wanna stop this, then stand up. Because I've got one thing to say to you. Never forget who you want to become!

However Shoto's arc doesn't end here, because one of the major conflicts in MHA is that heroes don't pick and choose who to save and a true hero will give help even to those people who don't ask for it.

This is a point which further develops when Shoto's abusive father starts to show a change of heart at the end of the Pro Hero Arc. Shoto still holds his father accountable for what he did in the past, but he also acknowledges that if he had the capacity to change then so does Enji. This isn't about whether or not Enji is forgivable, this is an extension of what Shoto learned. Shoto originally believed he was controlled by the circumstances of his birth, that his fate was set in stone, but a change in perspective allows him to realize he can determine who he wants to be. So, Shoto is just applying what he's learned, Enji has the capacity to grow.

There's one final piece of setup that I want to cover before showing how these separate dies all culminate in saving Dabi. Shoto's not only someone who has to find balance between his family and his desire to be a hero.

The theme of balance is written into the quirk itself. Enji basically practiced eugenics to create Shoto as his masterpiece. He noticed a flaw in his own quirk where he could only make his flames so hot without overheating. So he arranged a quirk marriage with Rei who possessed an ice quirk to create a hybrid ice and fire quirk that he could use to cool himself off to prevent him from overheating.

Enji only ever cared about the fire half of Shoto's quirk. His ice quirk only exists for his flames to grow stronger. This is shown when Enji is trying to force Shoto to learn all of his signature moves, because he only cares about Shoto's flame quirk. Shoto was created to carry on his father's legacy, and surpass him with an even more powerful flame quirk. Part of his character development is him learning how to use his quirk in his own way.

This is a theme that continues in the class training arc where Enji is still repeating the behavior of trying to force Shoto to learn his signature moves instead of considering what he wants at all, because still Shoto only exists in Enji's mind to carry on his legacy.

This all culminates in Toya's decision to save his brother. The first is his action in choosing to identify with his brother. If Shoto believes in his own capacity to change, and even his father's, then why would he deny Toya that same chance to change?

The foiling between Shoto and Toya isn't supposed to reduce the two of them to "Shoto is the good one, and he's the bad one", but instead Shoto and Toya were both in a point where they were consumed by hatred and couldn't see any other path in life. Therefore if Shoto was able to change because someone gave him help when he didn't ask for it, then Toya not only has the capacity to change - but in order for Shoto to stick to his stated beliefs that the smallest of things can bring about a change in people he has to be the one to give his brother that chance to change.

It's not about whether Dabi is worthy or not, it's about the themes in Shoto's arc finally being paid off.

Shoto's identifying with Toya, and even parts where he tells Bakugo he'll make Toya sit down and make Toya tell him his favorite food indicate that from the beginning Shoto's intention was to find a way to stop Toya without killing him (which is what several of the adult heroes were encouraging him to do).

@stillness-in-green does a more succinct summary of this plan.

Just me?

Because, like, Shouto had a plan. He spent the time between the two war arcs specifically developing a brand-new combat technique that he planned to use to shut down Dabi's combat advantage without killing him. He convinced his dad not to change the plan like Endeavor was hesitantly sounding him out about[1]; he went out and talked and asked questions, and even if they weren't the right words every single time, he did his best and he did it with intention. If Dabi proves to be dead, it won't be because of anything Shouto did to him; it'll be because Dabi himself chose to stand back up, take a warp gate across the country, pick a fight with the guy who doesn't have the power set to shut him down without unduly hurting him, and trying to replicate an Ultimate Move specifically tailored for someone with a balanced power set Dabi doesn't have. And if Dabi lives, it's still going to be because Shouto booked it across the country and used that same technique to stop him again.

Shoto's decision to save Shoto is also a continuation of his decision to help save Iida from Stain. It's not enough for Shoto to experience a change of heart about his own life, he's got to take what he learned about people's capacity to change, and the importance of connections and then put that into practice and help others the way he was helped.

However, it also further develops the theme of giving help that's not ask for from Iida because Shoto's not saving a mostly heroic kid, he's saving Toya to help break a familial cycle of abuse (because murdering the abuse victim isn't how you end the cycle of abuse... actually).

Shoto's last lines to Dabi are also a refutation of this idea of destiny that he once thought he was ruled by. It's once again, Shoto teaching someone else the lesson he learned. Toya says a warped rail can never mingle with a straight and narrow one! In other words Shoto can never understand or get along with Dabi, because Dabi will forever be defined as the failure because of the circumstances of his brith, whereas Shoto will always be the success.

His final action is a decision to break the cycle they were born into: no, we're gonna mingle whether you like it or not.

Shoto's ultimate move Phosphor is not only a move he designed far in advance to take down Dabi non-lethally, it also is a rejection of his father's teaching method. Toya says he only ever taught me how to turn up the heat. Enji only valued both Shoto and Toya for their flame quirks. Developing his own quirk and breaking away from what his father wanted, specifically in order to save his brother. It's Shoto rejecting what his father created both of them for (a successor to his quirk) and finding his own path. By using that move to take down Dabi he's not only teaching Dabi their flame exists for more than just destruction, he's also by letting Dabi live giving Dabi a chance.

From a conversation with @class1akids

Dabi was the last push to unlock Shoto’s full power. Until then he was on the track of mastering flashfire like Endeavor planned for him (except for his own reasons) but realising the fighting Dabi with fire was gonna kill them both and also he’s simply no match fire only helped Shoto to fully take control of what his quirk is Like his quirk development goes parallel with how he faces each member of his family and finally meeting Toya is like the last piece of his puzzle to find his own full power and identity.

It's not just Shoto decides to save his brother because he's just that nice, his arc is literally incomplete without it. The act of creating phosphor a move specifically to save Dabi is both him unlocking the full power of his quirk (by balancing the fire and ice sides of his quirk) but also achieving balance between trying not to leave his family behind while at the same time becoming his own person and hero outside of his family circumstances.

Citing my conversation with class1akids again:

Toya is endangering everyone at Gunga. Endeavor has no means to stop him and when he tries to murder suicide Rei interrupts and his “hero way out” is taken. All he can do is watch helplessly as his family is about to burn to death with a bunch of strangers he tried to protect. But it would do Shoto dirty to use his heart technique to kill his family and the strangers so he comes in a clutch and I see that confrontation as the power trauma vs the power of healing in the family. With Shoto who is a true hero, they can put the fire out and save the family and strangertoo. Shoto become a balanced hero and bring relief and reassurance, Endeavor was completely helpless, and Toyas inner child got the attention he wanted, plus depending on how you read it, he may have become less suicidal.

Shoto also, and I want to point this out desires to stop his brother not to take him down but because he doesn't want him to hurt any more people. He's again finding a balance between two ideas 1) Shoto needs to stop his brother in order to stop him from creating more victims and 2) Shoto needs to find a way to stop him that's not just putting him down because Toya himself is a victim.

Shoto also, and I must point this out for the comparison between Zuko and Azula goes out of his way to engage Dabi in conversation, ask him why he didn't come home and what happened to him in the years after he died. This is especially poignant because unlike Zuko and Azula who grew up together, Shoto basically had no relationship with his brother (and the rest of his siblings really) before Toya died because Enji purposefully kept Shoto separate from all the "failures."

So yes, the act of saving Toya is more for the completion of Shoto's arc than any redemption arc for Toya but Toya's not just a plot object to move around for Shoto's arc, Toya has his own agency all throughout. In fact it's the fact that Toya resists being saved every step of the way that provides the challenge that Shoto needs to grow in order to be able to save him.

Toya's not just after revenge against his father that's the surface reason, Toya is also just blatantly suicidal. Toya's birth is marked as a failure, his death wasn't even acknowledged by his family and everything stayed the same in his absence, so he created Dabi while praying at his own shrine in order to mourn Toya. Dabi can't find any meaning in his life where he was born as a failure, so he'll use his death taking revenge against Endeavor for having been born in order to give his life meaning.

What makes Avatar look especially bad in its treatment of Azula in comparison to how MHA treats Dabi, is that Dabi is way, way less redeemable than Azula. For one Azula has clearly proven affection both her friends and her brother (and I don't think she even deserves Mai and Ty Lee's forgiveness they had every right to walk out on her and want nothing to do with her again.)

Dabi is probably the ugliest victim of the League of Villains. The rest of the league have far more moments in their bonds with each other. Toya is the outsider to the league even if there are some subtle hints to his affection (he tries to show up to save Twice, and also burns down Toga's family house to comfort her). The villains are mostly shown to be redeemable by their positive friendship with each other, and Dabi at several points denies the league's bond (he pulls a Terra and yells out loud at the top of his lungs none of the league matter to him). Unlike with Terra you can argue this is most likely Dabi trying to cover up his real feelings. However, the fact that he feels the need to hide his affection from the league shows he's purposefully distancing himself from any bonds whatsoever.

Unlike Azula who has gone out of her way to help her brother in one major way, and also shows hints in early season 3 of having that sibling bond with him Dabi just straight up wants to murk Toya. Azula also tries to murk Zuko, but that's only when Zuko leaves on the day of Black Sun (one without telling her, and two something that probably left her alone to deal with the consequences of lying to her father for his sake). Either way, Azula's behavior in early season 3 is setup for the fact that their sibling bond can be salvaged.

Dabi is way worse to Shoto in comparison. Dabi in the first part never saw Shoto as his own person, just a puppet of his father (puppets have no autonomy or personhood). His feelings towards Shoto only went so far as Shoto was someone who could kill in order to upset Enji. Dabi also doesn't particularly care for the rest of his family as well (only calling out Natsu's name when his brain is literally melting), they're either ways to hurt endeavor, or he wants to drag them in hell with him. Heck his last words after being saved is telling everyone to die and go to hell.

Dabi doesn't bother to make bonds with the league or have any lingering affection for his family because Dabi's determined to seslf destruct. He's given up on life the moment he saw that he died and nothing changed in that household, now all that's left is for him to create a meaningful death by dragging his family to hell with him.

Dabi is also even as a child made out to be an unpleasant victim. He attacks baby Shoto with his flames early on out of jealousy (even though he later admits that he was being unfair to Shoto). He makes the situation in the house worse by loudly screaming and demanding his father's attention. He screams at his mother and throws her complicity in Enji's abuse in her face.

This is in comparison to Shoto who in childhood flashbacks we are only ever seen either 1) crying, and 2) trying to comfort and protect his mother. Toya's even made out to be difficult to empathize with as a child - which like flew over half of the fandom's heads because he got accusations of somehow abusing his father and the rest of his family in that chapter at 10 years old. However, that in a way illustrates my point.

The fact that Dabi is so disliked by a certain portion of the fandom is because Horikoshi paints such an ugly portrait of Toya in the way he expresses his victimhood. It's done deliberately too, because number one Toya by resisting Shoto's attempts to save him and trying to self destruct instead retains agency as a character. He makes decisions even though they're bad self destructive ones, he's not just a prop. Number two, the fact that Toya is intentionally portrayed as such an ugly victim makes Shoto's decision to break the cycle of familial abuse by saving Toya and not leaving a single family member all the more poignant.

Toya is an uglier victim than Azula, actively trying to kill himself in a way that Azula isn't, and treats Shoto way worse than Azula ever treated Zuko and yet Azula isn't shown the sympathy or given the salvation that Toya is.

Because once again, the writers didn't think about the ending of Azula's arc or of Azula as her own character. Shoto defeating Toya is the culmination of his desire to break the cycle of abuse in his family. Zuko putting Azula down is just to make Zuko look better. It's in service of Zuko's character instead of both of their characters.

THE BAD

Avatar isn't setting up some gritty ending where the bad guys can't be stopped, they can only be killed. In fact it's pretty close in tone to MHA.

Season 3 especially is the season that really begins to hammer in on the themes that even the people on the enemy side are still human after all. The headband shows that Fire Nation children are indoctrinated into the war, but they are in the end still children. There's the story between Avatar Roku and Sozin, and once again Iroh saying that Zuko has both options becoming like Roku or becoming like Sozin available to him (but not Azula I guess). There's Zuko joining Team Avatar, even after he betrayed Katara in Ba Sing Se and should have burnt that bridge then and there. There's Zuko working to earn their trust again when no one on the team really owe it to him.

The main character of the show is a pacifist, who deliberately learns a way to stop Ozai without killing him before the final battle because he doesn't want to break the values taught to him by his culture.

If the entire theme of season 3 is redemption, healing and that the fire nation are not inherently evil then why does Zuko's sister and character foil end the last shot of the series screaming and crying with no one comforting or even attempting to sympathize with her. Why is this one character marked for tragedy in a show that is about redemption and healing and showing compassion to your enemies and very specifically not a tragedy.

Toya literally burns all of the flesh off of his body, and somehow he has a gentler ending than Azula, because at least Toya's arc ends with all the members of his family showing up to try to cool down his flames, and when he's on the ground burnt to a crisp his father finally apologizes to him. Toya is a skinless burnt chicken wing, my boy has no skin, and somehow he's better off than Azula.

I don't think the writers gave Azula such a cruel ending because they don't like her, but rather because they just didn't think about her ending outside of what it meant for Zuko. Which is why you get moments like Aang who is apparently a pacifist who doesn't want to kill the Firelord, watching his daughter fall to her death while sitting on a flying bison and doing absolutely nothing to save her. ALL LIFE IS PRECIOUS (except for Azula I guess).

It's not bad because a victim doesn't get saved, it's bad because it doesn't fit in with the rest of the story.

Not only is Zuko saving Azula a very natural conclusion to his arc, but there's far more setup for Zuko reaching out to his sister and saving her than there ever was for Toya and Shoto. Both Toya and Terra are screaming at the top of their lungs "I HATE EVERYONE, YOU SHOULD ALL JUST GO TO HELL." They're both making decisions and committing to their self destruction while Azula is a 14 year old girl having a mental breakdown.

Anyway, time to quote the bad bad video again.

"When does a villain deserve a redemption arc? When do we deserve a redemption arc? I know this is gonna hurt, but characters are not people. They are tools. They are represetations of people. They can be used to say other things. They can be symbolic representation of other ideas. Azula's story is not just about a fourteen year old defeated by her brother for the throne, Azula is Zuko's character foil, where she is ruthless and practical, Zuko is empathetic and emotional. Where Azula's a prodigy, Zuko has to work hard to earn eve a fraction of her power.

I specifically chose to cite MHA, because of how differently it decided to use Shoto and Toya's character foiling. Shoto recognizes himself in Toya, and how different their paths were in life. This is explicitly motivates him to save Toya. It's also the culmination of everything that Shoto has learned because Shoto is a hero who believes that actions speak louder than words. It's not enough for Shoto to resolve his own inner struggle, he also has to help Dabi with his because that's showing Shoto has grown rather than telling us.

I think that is where the major difference lies between Shoto and Zuko, we're told that Zuko has chosen the path of empathy and healing, that he's learned to give people love and patience like Iroh has but instead of showing that the culmination of his arc is having a fist fight with his sister in a denny's parkinglot.

Azula is Zuko's character foil, where she is ruthless and practical, Zuko is empathetic and emotional. Where Azula's a prodigy, Zuko has to work hard to earn eve a fraction of her power.

If Zuko is empathic and emotional and that is why he's gained friends while Azula is now alone after having lost her friends due to the way she treated them, then like... what a great opportunity for Zuko to SHOW that quality of empathy.

However, Zuko doesn't do anything that Shoto does in the final fight. He's not even here for Azula, Azula's just an obstacle for taking back the crown. He doesn't talk to Azula, engage her in any way, try to de-escalate and avoid the fight.

If you want to make the tragedy that Azula and Zuko have taken such different paths in life that that Zuko fighting with his sister is unavoidable you could um... at least show Zuko being sad over the prospect of fighting his sister or being reluctant in any way.

(Before you come in here with "Zuko doesn't owe Azula anything take" this isn't about whether or not Azula is a terrible sister to Zuko, this is about the story that avatar is attempting to tell. Shoto and Dabi's fight is tragic because Shoto doesn't want to fight Dabi, he wants Dabi to come home and for their family to be complete. Zuko never expresses anything like that so where does the tragedy come from?)

If it were 100% committed to a tragedy like Terra's death then I wouldn't mind. if it were 100% committed to a story of redemption like Shoto reaching out to Toya then I wouldn't mind. My issue arises from the fact they want to have their cake and eat it too.

They want to give this tragic end to Azula, and use it to illustrate how Zuko has grown as a character. However, you can't have both.

If Zuko's growth is about learning that his father's love based on achievement and 2) learning he needed to get lost in life in order to find himself then why doesn't any of Zuko's actions demonstrate this lesson Zuko has learned about love, and about how you can be your own person outside what your father expects from you.

If Zuko has grown as a character he should be able to show those actions. He does show his new understanding of love and friendship to Team Avatar, but as I said that's easy mode. That's Shoto's attempts to save Iida, it's a step in the right direction. It's also not really Zuko demonstrating a selfless love, because he's also at the same time trying to earn their trust and earn his way into the group.

It's also not Zuko breaking the cycle of abuse in their family in any way. Shoto is trying to break free from his role of his father's masterpiece, and at the same time helping Dabi break free from his view that he's the failure.

It's also such a natural ending for Zuko's arc, to take the lessons he learned from Iroh and give them to his sister who needs them so they can both break away from their father's parenting. As I said Zuko does solve the internal conflict within himself, but he doesn't really demonstrate that by helping someone else find their balance.

If you wanted the tragic end, then it would have to be about Zuko's failure to reach out to his sister, because he hasn't learned how to reach out to her. Or because he tries and is unable to. The writers don't seem to understand that though, they think the tragedy is about Azula bringing it all on herself, and not the inherent tragedy of a fourteen year old girl being unable to be saved.

The set up is right there too, because number one avatar is about balance. So, wouldn't the true ending be finding balance between the siblings, not having Zuko rise and Azula fall. Number two, Azula being alone and friendless because of her own actions is again a parallel to where Zuko was in early season 2 at his lowest point. Except Zuko can be the better person in this situation by reaching out to her.

Zuko doesn't break the golden child / scapegoat dynamic, he just flips it so now he's the success and Azula is the failure.

While Azula's fall comes from cruelty and rejection from friends and allies it is Zuko's humility and kindness and friendship that ultimately wins the day. Him sacrifcing herself for Katara and her bringing Azula down and then her healing him. Azula ending up imprisoned isn't something happening to a real person, it's a deliberative narrative choice by the author to say something about how people like this isolate themselves and end up alone. "

As I've stated above, I'm not saying Azula didn't deserve to take a fall. Her fall is actually set up from the first moment she met Ty lee. However, there's no set up for her fall being permanent.

Azula's given way more humanizing moments than characters like Terra or even Dabi. Which is why Azula being in an insane asylum for the rest of her life doesn't fit as an ending at all.

Azula is one link in the chain of abuse. Her father only gives out affection in regards to her usefulness. No matter what Azula is an asset first and a daughter second. Azula then repeats the cycle and treats her friends the same way. She has been shown through an improper model of parenting of using fear to dominate others with power and control and she replicates that in her other relationships.

Therefore, Ty lee and Mai leaving her is not only deserved, it's the perfect opportunity to pull the rug underneath Azula and to show her that her understanding of how relationships work is completely wrong.

This also mirrors Zuko's arc, because part of Zuko's arc is realizing just how wrong Ozai is for making both children earn his love, and that he doesn't need to measure his self-worth based upon his father's approval. He also learns about healthy expressions of trust and friendship from the gang.

Azula loses in part due to her own inability to form healthy relationships is losing people rapid fire, her brother leaves and joins the enemy side, Mai and Ty Lee betray her in favor of her brother, then her father in one action of leaving Azula behind and throws the title of Firelord to her after it's become completely meaningless reminds her of her place. Azula learns in about five episodes what Zuko had in 3.5 seasons to process that her father's love was always conditional and no matter what she did she would never truly "earn it."

People leaving Azula isn't exactly the problem, the problem is that Azula ends up alone permanently without being given the same chance that Zuko is. Terra, and Toya both get opportunities to turn back. They both refuse the hand that's reaching out to him. Mai and Ty Lee leaving is caused by Azula's own choices, but her ultimate end isn't. She's not even given the chance to turn away being saved like Terra and Toya do because Zuko doesn't even bother to try saving her. Her ending is not entirely brought about by her own choices, because the writers need her to take a fall to uplift Zuko.

Azula ending up imprisoned isn't something happening to a real person, it's a deliberative narrative choice by the author to say something about how people like this isolate themselves and end up alone.

I think once again it comes from the author's misunderstanding things because they don't want to look at the story from Azula's perspective, only Zuko's.

Stay at Home almost had it when he said the tragedy of Zuko and Azula was there to show how two different parenting styles affected these children.

The tragedy is that Zuko and Azula started in the same place, but Zuko had persistent guidance and someone who modeled for him a healthy kind of love. The difference is that Azula has never experienced any kind of healthy love or support on the level Zuko has, so she models all her relationships on the way her father treats her. It's not that Azula is offered some chance for change and rejects it, it's that Azula isn't even aware of the fact that there's another way because no one is there to show it to her.

Which is why I said once again, Zuko being the first one to show Azula the lessons he himself was shown by Iroh is such a natural place for his character to end.

Azula also even while completely alone and with no idea what healthy love is, knows that there is something wrong with her and is troubled by that fact in a way Dabi and Terra aren't.

Azula: I can sit here and complain about how our mom liked Zuko more than me. But I don't really care. My own mother... thoguht I was a monster... She was right of course, but it still hurt.

Then there's the famous mirror scene:

Ursa: I didn't want to miss my own daughter's coronation. Azula:Don't pretend to act proud. I know what you really think of me. You think I'm a monster. Ursa: think you're confused. All your life you used fear to control people, like your friends Mai and Ty Lee. Azula: Well what choice do I have?! Trust is for fools. Fear is the only reliable way. Even you fear me. Ursa: No. I love you, Azula. I do.

Both of these scenes indicate that Azula thinks of herself as a monster and is deeply uncomfortable with the idea. Considering Ursa is a voice in Azula's head and not a ghost, it also shows on some level Azula knew what she did to Mai and Ty Lee was wrong and feels conflicted over it.

Once again she's much more in conflict with herself than Toya and Terror ever are, and who's someone who's constantly warring with himself? Who's someone who could help resolve her inner conflict... Zuko (too bad the way the show's written he never does).

Azula doesn't choose to self-destruct the way that Terra and Toya did. Azula's ending isn't brought about by her choice not to change, because she's never given the chance to change in the first place. Her tragic ending would make sense if it was entirely of her own choices, but Azula doesn't retain her agency in the end it's literally taken away from her. She loses control of her mind, and her ending is being chained to a grate screaming and then thrown into an asylum.

I'm not arguing against Azula's ending because she's my favorite character and I don't want bad things to happen to her. It's because her tragedy isn't about her it's about Zuko, and her ending actively takes agency away from her where at least Toya and Terra both retain their agency up until the end. It's not good writing because the tragedy doesn't fit in with the rest of the story which is about balance and healing - and it's also ableist as hell.

THE UGLY

Azula's ending is unfitting to the tone of the story she's in, makes her and Zuko's arcs feel incomplete, and also is ableist as hell.

Here's yet more evidence that Azula's tragic ending is poorly thought out. Azula's mental breakdown doesn't exist in service of her character, but Zuko's.

Azula's issues pop up out of nowhere after episode 15, and take place over the last 6 episode of the series. The idea of Azula having a mental breakdown isn't necessarily a bad concept, but it's executed poorly.

The first way it's executed poorly is just how rushed it is. There's basically no hints of any mental instability beforehand. Of course people can have mental breakdowns spontaenously like that in real life, but this is a story and stories require foreshadowing. Azula spontaneously developing mental issues doesn't feel like it's planned as a part of an arc. First off, because the writers don't seem too sure about what Azula's symptoms even are. Hallucination, paranoia, manic laughter, but apparently she's still able to bend lightning just fine. Secondly, the writer's intentions for giving Azula a mental breakdown are pretty transparent.

The writer's room needed to come up with a believable reason why Zuko would suddenly be able to fight on equal terms with Azula, so boom sudden mental illness. The intent was not to create a sympathetic portrayal of a young girl struggling with both paranoia and delusions. The intent was to nerf Azula because they couldn't think of any other way this plot could end, other than Zuko and Azula fighting in a denny's parkinglot.

As I said they use mental illness as a plot device to take Azula's agency and choices away from her. It's not done with the intention of humanizing her, and in fact except for one small scene with her talking to her mother in the mirror it's a pretty negative and unsympathetic portrayal of mental illness. Not because the writers hate mentally ill people, but because they needed Azula to have a mental breakdown in order for a plot point to happen. Which is why they didn't think of the potential implciations of such a writing choice at all.

Now, people are going to argue about me so I'll use one final example. Azula's ending may be controversial but it's universally agreed upon that the Game of Thrones Ending was bad, right?

Game of Thrones uses mental illness as the exact same plot device, to explain why Daenerys Targaryen turns from a hero to villain in the last few episodes with absolutely no foreshadowing. In fact, the all of the show director's interviews about that choice are just blatantly ableist.

Rant from @hamliet

This quote is (likely unintentionally) gaslighting, ableist, terrible logically, and downright offensive. 

First, ableism: why, why, why are we conflating madness with evil? She was driven to madness so she killed a bunch of people and had to be put down? And you think this is a great message in the year of our Lord 2019? [...] Additionally, while good writing is to an extent subjective, there are general consensuses on what make good writing--and Game of Thrones hit all the general consensuses for bad writing, from bad pacing to confusing character assassination. Critics are like, pretty united on this front. No one thought Dany’s turn made sense, even the ones who expect Mad Queen in the books. Maybe if people love a character who is meant to be evil you're not writing them correctly... or maybe they aren't meant to be evil. 

Daenerys and Azula are incredibly similiar characters. They're both dragon themed, alligned with the element of fire, they're both colonizers they both represent the warrior princess archetype.

I'd say Daenerys is more of a tragic heroine though, because while Danerys is essentially doing the same thing as Azula, waging war in a foreign land and a culture that's not hers, for the purpose of then bringing back soldiers to her home continent so she can wage war again - while she is definitely a war mongerer she has good intentions. Daenerys for all of her faults, genuinely wants to break the chains and help out people.

I think Azula definitely sees herself as the hero for winning the war for the fire nation's sake, but she's completely uncritical of her own culture and she doesn't really have the good intentions that Dany has. She does it more out of a sense of duty, and her belief of divine right, not because she wants to break people free.

Daenerys's problem is that she doesn't understand the culture she's invading and the complicated world she lives in and despite all good intentions, is as I described above, invading a foreign power so she can go back and wage a war to reclaim the throne. Even if Daenerys would then proceed to go on to be the bestest queen ever that wouldn't change the fact her methods to get to the throne were incredibly violent, and she's sort of failing to break free from the cycle that led the Targeryen rule to fail in the first place.

Azula's problem is she sees herself as the hero and is therefore uncritical of fire nation values. She doesn't have any nobler intentions either other than service to her country, she just like Zuko is just trying to fulfill her duties as daughter and believe her birthright puts her above others. (I mean Dany does too but digressing).

Azula's more of a tragic villain who plays the antagonist role in the story, Danerys is one of the three heroes. However, she's more of a tragic villain in the sense that she's first season zuko pre character development just way more competent.

However, while Daenerys is a much more heroic character than Azula, here's the thing. I still think she's going to die. She is foreshadowed pretty heavily to die, and fail for her quest for the throne, because her entire story is a deconstruction of the warrior princess and the liberator archetype.

However, the story that GRRM is building throughout his books with Dany as an incredibly flawed heroine is different from what we got in the show, which was Daenerys going crazy and starting to murder people. That's because Daenerys turn to darkness wasn't about her character at all, it was just making her into a plot device to move their bad idea for a plot forward. That's why the turn is so unnatural and makes little sense with her character, that's why it's so rushed.

That's also why it's ableist, because it's using mental illness as a plot device to make a character unsympathetic and monstrous and give the other characters a reason to put them down.

The same for Azula, outside of one scene where he's talking to her mother, Azula's mental illness manifests in her screaming, maniacally laughing, looking like the joker did her makeup, and her instability also makes her violent and dangerous to be around. (Ignoring the fact that most people who experience delusions in real life are harmless, and more likely to be the victims of violence).

Her sudden mental illness isn't even used to make her more sympathetic in say Zuko's eyes and make him realize she's a victim, no it's just there to nerf her so she can be violently put down. The way she's drawn, the way she acts, it's to paint her as monstrous as possible. Her last action is like sobbing and screaming while being drawn as ugly as possible. She's not even given a small hope for recovery, because it just ends there. That's a pretty great message to send people that experience delusions, not only will you not recover or be shown sympathy, you'll also get sent to a mental asylum for the rest of your life. The choice for both Azula and Dany is not to portray any kind of mental illness in a respectful way, but to make a plot point happen.

As I said I expect Dany to die in the books, but there's a difference between dying as a tragic hero succumbing to your flaws but still having your good intentions acknowledged and just turning into a villain for no reason and being put down like a rabid dog.

(This is a quote I stole from a Shigaraki post but): "Why does she need to be put down in the first place, she has trauma, not rabies."

The problem isn't bad thing happened to my favorite character, the problem with the ending is it doesn't take Dany's setup into consideration.

Stealing from @hamliet again:

The thing about tragedies is that you have to manage expectations and clearly show that your tragic hero is doomed from the very early on–ie you have to show them making steadily worse and worse decisions (see: Eren Jaeger in SnK), if not directly tell your audience at the very beginning that this is a tragic story (ie see Greek choruses and Shakespeare, the prequels from Star Wars because everyone knows Anakin is Vader–plus I’d argue Anakin’s arc only works because we know he comes back to the light in the end. Audiences don’t like reversing on set up/undoing structure. To make Dany a tragic villain is to go against the structure of her arc in both show and book. That’s why people don’t like it, even if the books makes it seem more believable.

Kate then goes onto describe a character that's much more comparable to Azula's. Honestly Arianne is closer to Azula than Daenerys is.

You know who is set up as a tragic heroine destined to descend and die because of her flaws in the books, whose arc has almost certainly been combined with Dany’s in some sense in the show? Arianne Martell. (and another character known as f!Aegon) In the books, Arianne is incredibly ambitious, and especially resents her brother and his quest for power. Like Margaery (another tragic character), Arianne seeks power and is intelligent and manipulative in her quest for it. But Margaery’s fatal mistake is that in seeking power and prestige, she’s become more a pawn than anything else for a villain (Cersei). She chose to play with lions, and she’ll be torn apart; that’s not surprising. Arianne, as her chapters hint, is going to almost certainly marry f!Aegon, playing with fire, and die burning for it.   Arianne’s grasping for her own power is never portrayed as cruel or stupid like the main human villain (Cersei); on the contrary, we empathize with a girl who truly cares about her people, but resents her father’s preferential treatment towards her brother. That’s the difference between Arianne and Cersei: Arianne cares. She is not cruel. But her pride is still going to get her killed.

There's a lot of game of throne females you could compare Azula to because GOT is full of queens, but like. Azula may be a tragic villain firmly on the side of the antagonists but she's not Cerseie. She's not queen, she doesn't wield the power that Cersei wields. In fact one of Azula's downfalls is finding out she doesn't have as much power as she thought she had, and ultimately was just a tool of her fathers.

She's not Rhaenyra or Alicent, because yes she may be grabbing for power but her character isn't affected by misogyny. Because once again, the writers simply didn't think about misogyny except for a really surface level "girls can be just as strong as boys" way so we really have no idea how women are seen in the fire nation. The show doesn't really explore if being a woman makes things harder, or makes people treat her differently than Zuko because the writers just didn't consider Azula's perspcetive on that matter.

Azula is alike to Danaerys in several ways, but as I said I think her ultimate end comes from Azula understimating her own importance in her father's eyes, and quickly realizing when her father is her only family left she never had his love or loyalty in the first place.

But Margaery’s fatal mistake is that in seeking power and prestige, she’s become more a pawn than anything else for a villain (Cersei). She chose to play with lions, and she’ll be torn apart; that’s not surprising.

Azula's most famous quote is about how Long Feng isn't even a player, only to find out her father considered her a pawn from the beginning and be broken by the revelation.

The difference being of course that Avatar is not Game of Thrones and it won't even kill the evil fascist dictator so it doesn't make a lot of sense to hand Azula the ending that Arianne got. They have the same fatal flaw.

Anyway, I made this big post but I can explain why Azula's tragic ending down't work in one sentence.

AVATAR THE LAST AIRBENDER IS NOT A TRAGEDY.

Maybe the reason Azula should get redeemed is because THE SHOW IS ABOUT F&%CKING REDEMPTION.

[hatsukeii]

boxers / timeskip!miya atsumu x reader

genre(s) - slice of life??? friends with endless romantic/sexual tension between them, mutually oblivious pining up until the end, atsumu being a little BITCH :/, reader is so hot btw im saying it now you guys are so hot, hotter than the little BITCH atsumu (ngl i do fw his ass tho...)

warning(s) - suggestive but not nsfw!! atsumu being FUCKING ANNOYING, tiger balm if you get it you get it, and like crude humour which is just my branding atp sooo

wc: 1039

tldr; if you're going to make atsumu fulfil your fashion dreams, you should at least look good, which shouldn't be a problem if the only person judging is atsumu himself.

author's note 1: a man who yearns is a man who earns ;) and sometimes a girl just wants to write yearning men to escape from finals so

"'Tsumu, how does it look?"

You reveal your completely renewed, upgraded, rejuvenated outfit, with Atsumu's boxers peeking through the top of your jeans loosely. Perfect, down to the minute details. Once again, you had graced Atsumu's apartment in the middle of the night, for some redundant reason. Last time, it was to take his carton of eggs. This time, it was to borrow a pair of his boxers, of all things.

"It looks cool. Are we done now?" It looks better than cool, much more than cool encompasses. His favourite pair of boxers (definitely a coincidence) sits lopsided across your waist, your jeans holding them in place. The tie sits around your neck, trailing down your torso atop the half-buttoned, collared shirt. You look much better than cool. You look hot, and that is a problem. So much of a problem that Atsumu is resisting the urge to run up and press both hands against your waist, even tug at the waistband of his boxers. You know, just to adjust them. Like best friends do.

You shake your head boldly, contemplating whether you should drop the idea. But alas, you've come this far, even managing to secure a pair of his boxers. It's all or nothing for your fashion discovery now. You stare back at Atsumu, eyeing him up and down as your heart pounds and you consider your next words very carefully. A confused look greets his face, the same one he's made ever since he was in high school. The look that he makes at you when you offer to visit him and rub tiger balm into his shoulders in the middle of the night, or agree to go to all his volleyball games every single time, no matter the day.

"Can you kiss the collar?"

And that just about does it for Atsumu's fragile constraint. His face flushes instantaneously, a hand shooting up to rub across his mouth, before travelling behind his neck to massage it. You wait for a response, your clasped hands becoming clammier with every stagnant second that passes. A stick of red lip stain sits in your back pocket, all you need now is his green light. The air of his living room becomes a pool of slick oil, impossibly heavy, suffocating.

"Yeah, sure."

Your mind blanks. He was not supposed to say yes. You wanted him to, yes, that did not mean that he should have. However, it is too late to regret your proposition now, as you pull the lip stain from your back pocket and approach him on the couch. He winces at the colour, and your hand reaches to cradle his face, angling it just enough to apply the red all over his lips.

"So glamorous, Atsumu, you should be thanking me."

"Shut up, annoying," you manage to scarcely make out from his attempt to speak without moving his lips. He means that out of love, considering he used to call you annoying for actually showing up to his house to massage his shoulders after each match, nagging at you to get rest and leave his soreness be. All out of love between best friends, you're sure of it.

You let go, giving him free reign of your shirt. He looks up at you, pointing at the pointed collar, and you nod in approval. Risque, exactly what you intend to emulate. Shaking, he grabs ahold of your shirt, pressing a firm kiss into the fabric. You smell of the perfume he bought you in celebration of MSBY's first win. Oakwood, orange peel, vanilla. Of course, it was just returning your favour of offering to visit him in the middle of the night, and massage tiger balm into his shoulder blades for two hours.

He pulls away, taking a look at the shirt. Judging by your peculiar choices of a tie, boxers, and a half-buttoned shirt, this is far from risque enough for your liking. He tugs at your top again, peppering kisses across the hem, and you swear you are ready to drop dead right then and there. Not that he's never kissed you before, eight years of friendship does lead to his occasional kisses on your cheek at parties when the two of you would end up drunk off shitty mixers, or your affectionate kisses at the top of his head after match losses as he sits against changing room lockers. All a part of being best friends with Atsumu Miya. Yet as he continues his assault on your shirt, hands grabbing at the fabric tightly and hair tickling the skin of your neck, for the briefest of moments, you wish that he would bring the kisses up instead of across. Fleeting thoughts, pay no mind.

He stops, looking up at you. The lipstick is smudged across one side of his cheek now, and it takes everything in you not to grab his face, and kiss it off of him. His eyes flicker from your face, to your collar.

"Is this enough?" More than enough. You grab his face anyways, rubbing your thumb across the right side of his cheek with a click of your tongue. What a pity that your lipstick isn't ending up on you instead.

"You know, you look really good right now." You babble out before you can catch yourself, and Atsumu's eyes return to your face, boring holes into your eyes. You release his face, a knot forming in your throat as you register your sudden confession. Atsumu breathes out a chuckle, glancing and tugging at your collar.

"I did a pretty good job too, it's a shame I want it off."

He returns to your face, colour matching his red boxers, and your maroon tie, and finally fulfils your wishes as he brings his kisses upwards to your mouth. The remaining lipstick smudges around your lips as you hold his face, body positioned between his legs and your knee pressing onto the sofa. His arms fall back to prop his body up on the couch, surrending all control to your will. You pull away from him, and he almost sulks at the separation. God, he looks so fucking pathetic, staring up at you as if you're the subject of his waking dreams. He should definitely keep this going.

"Stay over tonight? Please?" He mumbles, nestling his face into your palm the way a cat does to its owner.

"Yeah...yeah, I'd like that."

author's note 2:

head empty, no thoughts, just mike faist in challengers, kissed collar shirts, and yearning men. Sometimes a girl just needs to listen to some 5sos and write about looking pretty in someone's boxers and lipstick stains :) Last happy fic I'll write for now, we're going back to giant bittersweet fics next time, might need to try some other characters from diff animes though...

also! this is a total change of style in how i usually write, i wasn't feeling particularly inspired, just wanted to rot and write to kill time, hopefully it's not too bad because it's definitely not my best work imo mmmmm :/

anyways tags!!

@starlysama @chuuya-brainrot @bailey-reeds @fiannee

ok im gonna go now love u bye bye kids

[fixated-dark-king]

Sooo, I had the amazing experience of attending a panel C.S. Pacat was part of during the Sydney Writers’ Festival on 25th May 2024. The panel was called “Creating a Monster” (with two other YA authors).

And finally a week later (because adult-ing is hard), I had time to actually go through my notes and write up some of the fascccccinating things Pacat had to say about: monsterous heroes, and villains, and enemies-to-lovers deliciousness, and queer identity!

I didn’t want to forget some of the interesting things said in this panel and thought others might be interested in hearing about them too? Please indulge the splurge. :)

(Please note that all bold headers are just my thematic summary of each section for people to jump to, not the actual question asked.)

WHAT APPEALS ABOUT ‘THE MONSTROUS’ TO PACAT:

From a technical writing standpoint, the ‘Monstrous’ is appealing because a villain will often do an act and the hero reacts to that. It gives unconscious clues to the reader that when the villain turns up, something exciting is going to happen. In that sense, villainous characters have a special sort of ever-present attention given to them (possibly because human nature is to always keep one eye on the dangerous thing that could harm you).

On a personal level: A) When queer characters are awesome but also ‘Monstrous’, Pacat says it can feel really ‘electric’ and empowering to reclaim/allow yourself to embrace the monster role that you’ve been told you fit into by society. Like in Anne Rice’s Vampire Chronicles where queer people are allowed to be beautiful/glittering & powerful & witty & have existential conversations about good and evil while fitting under the Monstrous label. Like heck yeh, that’s cool. And B) as an author, you can feel a ‘minority pressure’ to have characters be Good all the time and be the perfect ambassador for that minority, but sometimes you just want to be a vampire and take over the world, you know?

THE EXISTENCE OF ‘PROTAGONIST-CENTRED MORALITY’ WITHIN THE DARK RISE BOOKS:

When pondering whether it is hard as a writer to convince readers that a Monstrous protagonist is a likeable character, Pacat pointed out that the funny thing is that the question ‘How am I going to make readers like this monster?’ never really ends up being an issue because people actually really like monsters! The thing you might not expect is that the struggle is actually: ‘How am I going to make these readers who are barracking for the protagonist feel that this ‘monster’ is actually monstrous?’

Pacat explained that when a protagonist is also a monster, it brings into play something called ‘Protagonist-Centric Morality’ -- where you bond with that protagonist and want the best for them etc, so much that it can obscure when the protagonist is actually doing something bad. Pacat mentioned that he has found the Protag-Centric Morality fairly striking in the case of the Dark Rise books because people have said to him things like: ‘The Dark King Did Nothing Wrong Ever In His Whole Life’ and Pacat questioned whether the moral centre of the story was landing somewhere different than intended. He was curious whether the other authors had experienced that with their ‘monstrous’ protagonists too.

IF A HERO IS ALSO MONSTROUS, HOW ON EARTH DO YOU DIFFERENTIATE THAT FROM THE VILLIAN? When pondering over the distinction between a Monstrous Hero and a Villain, Pacat shared some thoughts from his lived experience. He said the times when he has felt most threatened by the ‘Monstrous’ is when that person isn’t clearly identifiable to others around you; where there isn’t a shared understanding between everyone that ‘yes, that person is a monster’. Extending from that, the Truly Monstrous is when that person has some kind of control over you and control over the narrative as well; if the monster is the one telling the story but casting you as the monster. Essentially gaslighting via ‘narrative control’.

ENEMIES TO LOVERS TROPE:

This is Pacat’s absolute favourite romantic trope. And he elaborated that he doesn’t mean that in the sense of ‘these characters sort of don’t like each other’, but rather to the point where two characters really hate each other and for a very good reason. He likes when a path between two characters feels IMPOSSIBLE to overcome.

This trope was first explored in the Captive Prince trilogy and Pacat loved it so much he just had to use it again for the Dark Rise trilogy. The planning behind it for CaPri was brainstorming: ‘What is the worst thing I could think to use?’ (Answer: Killing a character’s brother, which lands the bereaved character into a set of hellish circumstances.) But that meant when Pacat decided to use it again for DR, he had to extend that to: ‘Now I need to think of something EVEN WORSE THAN THAT (CaPri)’ in order to separate the main characters. So Pacat had to spend ages thinking about what could be the absolute worst thing to use this time -- and he hopes that he came up with something that is ‘truly, truly way worse.’ Which essentially had everyone, including the moderator, laughing loudly in fear. XD

WILL KEMPEN: FOUND FAMILY & THE LONELINESS OF INAUTHENTICITY:

Pacat spent a lot of time trying to develop a really meaningful platonic friendship between Will and Violet. It meant a lot to see a friendship like that reflected on page for Pacat because some of the most important friendships of his life were across gender lines. The reception to Will and Violet has been so pleasantly surprising, so Pacat supposed he wasn’t the only one with a hunger for that kind of friendship within the romantasy genre.

Pacat also reflected on Will’s complex relationship with his Found Family -- that having the support of a Found Family can be so essential, but in Will’s case that lifeline is undermined by secrecy, turning that Found Family into a different kind of loneliness. Because the thing is: if something so immense happens to you that you feel you can’t talk about, or you feel some way about yourself but think you can’t share that with others, it means you can’t really be your authentic self. But if you’re not being you’re authentic self, who are your friends friends with? They can’t be friends with the true You; they can only be friends with a facade/with a performance. So as long as Will is scared to show his true self and remains hiding himself away from even his friends, he will be alone. It’s a hard step to take. (Note from me: so heavvvvy but poignant.)

NOT DR-RELATED, BUT PACAT’S FAV MONSTERS FROM POPULAR FICTION: Pacat was so excited to namedrop his favourite monsters from popular fiction, he volunteered to go first LOL. The answers: 'The Brat Prince' Lestat (Lestat has been on his mind a lot recently because the AMC TV portrayal captures Lestat so well & has completely rejuvenated Pacat’s 12 year-old love of vampires. Total mood); serial killers such as in the Ripley series; and simply: American Psycho.

Great panel, right? Now it’s Europe’s turn!

[uweinei-02]

how they make you feel loved (HEADCANONS) ft. tsukishima kei, sugawara koushi, and daichi sawamura

AUTHORS NOTE: felt like writing something, even through i haven't written anything other than essays since 2021. so criticism is welcomed! also i only JUST started getting back into haikyuu so mischaracterization might be apparent, my deepest apologies for that! this is lowercase intended! ˗ˏˋ꒰ 🍒 ꒱

TSUKISHIMA KEI

100% would make a playlist for you, probably would label it ask a nickname he calls you (99% chance it'd be called "1diot" cause you're the only idiot for him, would probably be his exact words when you ask why too). the playlist would include all the songs that remind him of you and also songs you like, also it's definitely over 48 hours long (what can i say he really loves you, also 80% of those songs are ones that make him think of you)!!! "a playlist?" you asked him as he opened the link he sent you earlier on in the day. he told you to wait to open it until he finished practice as he said he would stop by. you shifted on your bed, leaning your head onto his shoulder as he gave you a hum in response. "one-diot... what?" "are you stupid?" he asked and you could only roll your eyes and grumble at his words before he let out a sigh. "because you're the only idiot for me." and by god, you fell in love with him again.

SUGAWARA KOUSHI

makes you lunch everyday for school, would deliver it to you and it could either be the exact same thing as he has or completely different depending on dietary restrictions. oh, he would also write a note in there to motivate you and make sure you keep going (on a banana, because he thinks it's cute. did i mention he would eat with you AND your friends?????). "[name]!!" he called out in front of your classroom door with a grin and a box full of your lunch, causing you to greet him with a wave and a smile as he makes his way to the table you're seated at. once he's seated you thank him for the food after he places both his and your lunch containers on the table. you remove the lid of your box, and as per usual, there's a banana with a note. "you're amazing love, i love you <3" you can't help but smile at the banana.

DAICHI SAWAMURA

messages you motivating things to keep giving you energy throughout the day, messages would probably be sent in every hour, not a minute late either (sometimes you end up wondering if it's actually him or if it's a robot, but you always smile at the messages, so you're not complaining)! you let out a groan, leaning further into your chair as you continue to attempt the math problem you've been struggling on for the past 30 minutes, you were falling behind and your grades were really showing it, and you seriously needed to catch up, fast. just as you were about to go back to your work, your phone dings causing you to check it. "you're not going to get anything done if you overwork yourself, make sure you take a break!" you let out a sigh and smile, thanking him as you then shut your phone off followed by you eating a snack nearby.

[youreyeson1y]

when no one is around, you'll find me on my tallest tiptoes (shining just for you)

pairing: bang chan x reader (you/your)

title: mirrorball by taylor swift (album: folklore)

cw: swearing, mental health (reader is emotionally drained)

synopsis: sometimes someone just needs to show up for you to realise that maybe even the end of the world doesn't sound so bad if they're with you. or, where chan sends you a text that makes you break down.

tags: comforttt, chan being the absolute sweetheart that he is, reader is the silent type who doesn't prefer talking about their struggles, unedited, lowercase intended, relationship is not defined so can imagine it however y'all want 🤍

author's note: this was heavily self indulgent because sometimes you just need the reassurance that it'll be fine. so to anyone that needs to hear it, whatever you're struggling with now, you'll just look back on it in the long run and be proud of yourself. i love you, and my dms are always open if you wanna talk <3

word count: 0.9k

enjoy !

"did you eat today?"

it was just a text. just a single text.

but you were surprised to see teardrops on your phone screen as you stared at those words for a solid ten minutes.

it was nothing out of the ordinary; chan was always checking up on you, making sure you were hydrated, got home safe, or anything and everything else.

but sitting in the hallway in front of your apartment door, with messy hair and crumpled up pieces of papers in your bag and your glasses resting on the top of your head, covered with dirty fingerprints... you felt pathetic.

chan was the one managing a world famous band, he was the one constantly producing songs or brainstorming ideas or working on their demanding choreography.

as you absent-mindedly scrolled up your chat, it was him who was constantly checking up on you and asking you the simplest things that held the deepest meaning.

and what were you doing?

letting some mundane crisis wear you out and come back to being the person you had tried so hard to escape.

the silent vibration of your phone made you wipe your tears with a shaky breath, and accept the call request with a smile on your face.

"hey man, how was practice toda—"

"i'm coming over with your favourite take-out, and you're gonna shut the fuck up for once and let me treat you."

"chan..." inhale. exhale. you could not allow yourself to cry in front of him.

he already had a lot on his plate with the comeback, he didn't need you to add on to that and ma—

"and if you need to, we can talk about your day, and i can tell you about mine, and we can laugh about the stupid things me and the boys did or how steve has been pissing you off these days,  or we can just not say anything and eat and go to bed. how's that sound, love?"

what did you ever do to deserve this man?

"where are you, chan? i miss you."

the elevator dings, making you look up and exhale, your whole body instantly relaxing at the sight of him.

"i'm right where you need me to be." he smiles, his dimples and tiny nose scrunch making your insides ache.

"i'm sorry," you almost felt bad because of how good it felt, having someone you care about meet you halfway. being taken care of. "you're probably so tired after practice, you really didn't have to..."

you didn't want to be a burden, but looking at the way his gaze softened and his shoulders relax as you meet his eyes, you realise...

maybe you could help carry each other's burden; together.

chan placed his bag on the ground and crouched down on the floor beside you, mirroring your position.

he saw your tear streaked face, and you remember telling him once how cringey you found it when male leads would enter like knights in shining armour and save the helpless maidens.

you wish you hadn't, because you really needed the saving right now.

chan smiled.

"you know," he started, taking your glasses from your head and wiping them on his shirt. "i had a pretty shitty day today. i mean, it wasn't that bad, but i feel like i could've done much better, that i couldn't give my best. and maybe we couldn't finish recording today because of my mistakes. but the weird thing is, i realised that i wanted to say that to you. and you know how much i hate letting people know that i messed up." he chuckled.

he gently puts the glasses on your face, making you look at him.

"i wanted to let you know that i didn't do well today because i knew you would not just cheer me up, but tell me to do better next time.

i sent you that text purely out of selfish motives, so that i could get a chance to talk to you. so honestly, you don't have to feel bad."

you hadn't even spoken a word since he'd arrived, but it felt like he understood you better than you could've ever put it into words.

"plus, i was craving some chinese anyway." he stood up, reaching out his hand to you. "so, are you gonna make me wait outside the whole night, or are we gonna get in?"

"chan," you felt... love. adoration. gratitude. he did have a way of making you feel things you didn't know you could feel anymore. "did you get those complimentary starters they give? i will simply not let you in if you haven't."

as you saw him finally flash his biggest smile at you, you knew you would be okay.

"who do you take me for? of course i did! and i was going to wait till desert but they may have given me a little somethin-somethin on the house as they were closing up their shop."

it didn't matter what you both talked about as you sat down to have cold take out food; why you felt like punching steve or how chan was having the time of his life trolling stays on his lives.

at the end of the day, what mattered was you knew he was there, someone to listen to you talk for hours and hours and someone he could fall asleep in the arms of, forgetting for a moment that he had the weight of the world on his shoulders.

and thats how you know it would all be okay.

because even if it felt like the end of the world, there was someone willing to spend it with you.

a/n: comments and reblogs are what keeps me going so they are highly appreciated, thank you !

if you're going through something similar, please feel free to reach out to anyone, remember, there are people out there who love you more than you may realise.

untill next time 💌

bang chan masterlist

[tangents-within-tangents]

The Bad Batch as Penguins of Madagascar Quotes

Bc I’ve seen a few posts making this magnificent comparison and both of these squads are near and dear to my heart and bc I need a distraction from the s3 premiere ahhh

Tech: *mission relevant info* Hunter: Tell me something I don’t know! Tech: Without mucus your stomach would digest itself Hunter: … Hunter: Tell me something else I don’t know…something less disturbing

Hunter: (to Caleb) It's okay, kid. We're not going to hurt you Crosshair: *cocks his gun* Not true, Hunter, they did authorize lethal force

Wrecker: *absolutely decking his bros* You pillow fight like a bunch of little girls!

Crosshair: What part of "zip it" eludes you?! The "zip" or the "it"?!

Echo: I don't mind saying it, that guy vexes me. *narrows eyes* He's a vexer.

Hunter: Boys, no training tonight. It's game night! Tech: Trivia! Let's play trivia! I dominate trivia! Omega: Oh! Can we play Simon Says this week? Tech: Yes, Simon says we play TRIVIA!!

Crosshair: I find reason tedious and boring. We'll use force.

Echo: I'm sorry, boys. I sometimes resort to sarcasm when facing the unknown Tech: No doubt

Hunter: Oh I’ve seen accident prone, try Wrecker and Crosshair! With a Chandrilan lantern! And SIX BOTTLES of rocket fuel!! Tech: Worst talent show ever

Hunter: There's no such thing as too paranoid, Omega. Remember that, and forget you ever heard it!

Tech: SCIENCE! WHY HAVE YOU FORSAKEN ME?!?

Omega: I have an idea! But I'm not sure how safe it is Wrecker: I like it already!

Crosshair: *while fighting* You cannot win, Hunter! I am fueled with a boiling hate! A raging fury! Hunter: And a babbling mouth! *slaps him*

Omega: No! I swore I’d never use my adorability as a weapon again, and I meant it!

Echo: Wrecker, cover Omega’s ears, I intend to use my angry words

Tech: This red line shows the frustration level of a really smart person forced to take orders from some dunder-brained boob. As you can see the frustration just keeps rising and rising and rising. I mean, why don't they put the smart guy in charge, huh? IT DOESN’T MAKE ANY SENSE! SOMETHING HAS GOT TO GIVE, PEOPLE! AM I THE ONLY ONE SEEING THIS?!

Wrecker and Omega: *run in making incomprehensible panicked noises* Hunter: Anyone catch that? Echo: *nonchalantly interprets it exactly* The Batch: … Echo: What? I’m fluent in panic

Tech: Cool cars go faster. That's a scientific fact.

Cody, in his one episode: I believe now I know why “volunteers” ends in “tears”

Hunter: No batcher gets left behind, that’s why! Wrecker: What about Crosshair? Hunter: Okay, one batcher gets left behind Omega: and Echo? Hunter: Maybe two batchers get left behind Tech: Um… Hunter: *groan* Comparatively few batchers get left behind, okay?!

Omega: I thought you agreed this was a dangerous weapon! Wrecker: Which is the best kind! What good is a safe weapon?! Tech: He has a point

Hunter: Avert your eyes, young Omega, you’ll never be able to unsee this! Tech, recording bc that’s his freaking hobby: Don’t worry about it I’ll burn you a dvd!

Crosshair: *standing outside the Marauder* Hunter! I have brought you a hand drawn greeting card! It says “Roses are red. Posies are green. Sorry about Bracca, I was too mean. Your pal, Crosshair” :) Hunter: *walks out and shreds the card*

Hunter: Get up here. That’s an order! Tech: *salutes* Permission to defy order? Hunter: Permission denied! Tech: Then I deny your denial (sorry)

Echo: *watching Hunter and Wrecker, captured and surrounded by stormtroopers* Well this hardly seems fair Echo: *jumps in a walker and defeats them easily* Told you it wasn't fair

*Phee and Tech kiss* Omega: *eyes being covered by Hunter* awww Wrecker: Finally!

[shadowgast-recs-weekly]

Cultural Differences: A Shadowgast Rec List

This week, we have cultural differences! Check under the cut for 10 fics that explore the differences in Caleb and Essek's cultures and how it affects their relationship, and don't forget to comment and kudos if you like them!

Courting of the Caleb by VexedVixen (6884, Mature) Reccer's Content Notes: No Content Notes, Choose Not to Warn

Beau realizes Essek is courting Caleb before Caleb does.

Reccer says: Good world building, it’s cute, and plenty of both Caleb and Essek being flustered!

The Secret Romance of Essek Thelyss by Cardinal_Daughter (18629, Explicit) Reccer's Content Notes: No Content Notes

All Essek wants is to celebrate his and Caleb's anniversary and present him with a very special gift. Naturally, nothing goes quite as planned.

Reccer says: I liked it!

Double Dip by Defiler_Wyrm (622, Mature) Reccer's Content Notes: No Content Notes

Caleb’s Empire table manners threaten to ruin a perfectly pleasant dinner. (He’s going to get away with it, the little shit.)

Reccer says: Just a saucy little slice of life, pun intended.

Fine Things by Defiler_Wyrm (1296, General) Reccer's Content Notes: No Content Notes

Essek is accustomed to luxury on a scale that Caleb finds baffling and troublesome. Sometimes, though, he has a point.

Reccer says: This is a fic about culture clash in terms of class, and about poverty trauma, handled gently. I tend to think that the class disparity between Caleb and Essek must be a touchier thing to navigate than the broader Empire vs. Dynasty ones, and that's exactly what this fic is about.

Love Letters to be Tossed in the Fire by Anonymous (61367, Teen) Reccer's Content Notes: No Content Notes

Caleb and Essek get to know each other through a series of letters

Reccer says: This fic is creatively and beautifully written. I love the different ways the letters are sent. The two wizards learn about each other and their different cultures through the course of this fic, especially at the end.

Loose Translation by owlaholic68 (58379, Teen) Reccer's Content Notes: No Content Notes

Due to an incredible comedy of errors on the part of the Cerberus Assembly, what is thought to be a pesky bureaucratic for one meddlesome Caleb Widogast, turns out to be a powerful political alliance and symbol of peace and unity between the Dynasty and Empire… through the marriage of Shadowhand Essek Thelyss and Caleb Widogast. Canon compliant until episode 141.

Reccer says: This is one of my all time favorite fics! The author does an incredible job at writing the political intrigue, manages a beautiful balance of the fluffiest fluff you could ever imagine with an undercurrent of yearning and angsty misunderstanding, all the while exploring the worldbuilding of the Kryn Dynasty in a way that is soso tasty. Truly, this is an addicting read that had me screaming, kicking my feet, and hyping up the characters to “go get his ass!!” all throughout.

Love in Creation by LuckyOwlsFoot (1662, General) Reccer's Content Notes: No Content Notes

Caleb watches Essek work, and learns a little about the role of lace making to the Kryn dens.

Reccer says: The author does a great job at describing the physical motions of tatting, I felt like I could see it and understand what was happening despite have very little understanding of the craft- this really added to the visuals of the fic.

The following three fics each received two recs!

of blossoming hearts and glittering souls by quinn_of_aebradore (77995, Teen) Reccer's Content Notes: No Content Notes

Caleb and Essek realize they've caught the Feelings, and try to figure out how to propose to each other, with each other's different cultural customs

Reccer 1 says: It's so soft and sweet, it's a lovely read <3 Reccer 2 says: This fic is so sweet. It's so sweet. It pulls no punches when it comes to expressing emotion and revolves around the entire proposal, engagement, and marriage/lovebinding procedures with such depth and care. Read it and weep (the happiest of tears)!

but i didn’t do it right, can i try again, and again? by queenbeetle (53385, Explicit) Reccer's Content Notes: No Content Notes

An already together Caleb and Essek play at Dynasty courting rituals, but they keep their hands off each other long enough to play the game?

Reccer 1 says: I’m gonna be so straight forward this fic is SUPER hot. There is a phenomenal scene with gloves, and I will say nothing more. I really enjoy the cultural differences as seen through courting thing, especially when theres some misunderstandings about the levels of intimacy something might imply sprinkled in- and this definitely has that! Reccer 2 says: It has a delightful build up with a very rewarding and steamy pay off!

Indecency by RainyDayDecaf (5898, Teen) Reccer's Content Notes: Graphic Depictions of Violence, The fic is tagged with graphic depictions of violence, the scene written is about canon typical levels of violence

The many times Essek and Caleb accidentally court one another by Kryn or Blumenthal traditions and when they finally do it on purpose!

Reccer 1 says: Not only is it very cute, the world building is also very smart. The Blumenthal traditions that are made up by the author feel very in the spirit of what would be considered romantic to the way Caleb grew up. They clearly took time to flesh out his background and folk traditions just as much as they do Essek’s high class courting etiquette, which is a true treat! Reccer 2 says: It's wonderfully written and descriptive! Also just very funny and sweet with lots of good pining.

Want more fics that explore cultural differerences? Check out our previous rec list on this subject!

This is one of our weekly communally-generated shadowgast rec lists. Every week we announce a new theme and allow anyone to submit a fic recommendation. 

And hey, anyone includes you!

Next week, we'll be featuring getting nerdy about magic! Any fics coming to mind? Well, then use this form to submit!

[gazzistt]

I’m seeing a lot of anonymous people go on popular jjk smut writers asks and literally trash on them for being “inconsiderate” to those who want to read sfw content—and I just had to add my little two cents in…

Why are we acting as if we can’t type in “jjk x ___” and literally get tons of fics with fluff, angst, slowburn and sometimes FULL LENGHT series? It doesn’t even have to be on Tumblr but there are various other sites that are full of these topics. Sure smut is popular on Tumblr, but it’s not like these authors are the only writers on this app.

Now I get it if a specific creator markets themselves as nsfw + sfw and you want to maybe request more tame content—but to say they are inconsiderate for not tailoring to your exact need?

I get it, there is a lot of smut and sometimes you don’t want to read all that. But this gives you the chance to explore different outlets or creators who write this stuff! If you can’t find any on Tumblr there is ao3 and wattpad—it’s okay if a creator you know doesn’t write it.

I just find it a bit silly how people go to someone’s page who is KNOWN to write smut and then shame them for doing it when that’s their whole entire premise. Like why would you go to the milk store if you are looking for bread? 🤦🏾‍♀️

It’s like going to the 18+ section of a book store and wondering why they don’t have kid friendly books. It’s probably because that’s not their intended audience.

At the end of the day, tumblr has a pretty useful feature called “follow tags” and you can follow the tags of the things you want to see and the things you don’t. You can ask for more sfw content without bringing down creators who have nothing to do with that stuff.

Btw this isn’t to those who request these things, it’s for those who just attack creators for writing what they want.

Idek if anyone is going to see this, or if anyone cares, but that’s just my take on this.

[tenpintsof-sundrop]

I really really hate to be that person - especially because I know a lot of people are under the impression that fanfic authors are greedy and we should be grateful for any comments we get, even if those comments are full of unauthorized concrit, even if they're kind of rude, even if they're weirdly self-shaming (sometimes insinuating that people should feel bad over reading the dark or smutty content in the fics or that we should feel bad for writing it in the first place even though you're also reading it??).

But like, lately, I have been getting so many comments along the lines of "this fic should be longer!!" "I wish this was a series!!" "please turn this into a series!" "I would read endless sequels of this!!!" - today someone literally commented on one of my fics saying that it was a war crime that the fic was 30k instead of being 'a whole series'. And I totally understand the mindset that if something is good, you want more of it. If you enjoy something, you want more of it. But these comments are definitely not as flattering as people think they are.

When reading those comments - it doesn't always come off as a compliment. Most of my fics range from 5k to 30k on average, and they are usually oneshots or oneshots that I have split into multiple parts in order to be more readable - most of my longer, ongoing series are abandoned because I didn't have the steam to maintain them. (Most people don't know at all how hard it is to write a good, coherent, well-plotted 100k fic and actually keep up with it.) After I post the fic I have written later this week, I will have written over 400k this year alone, with my entire AO3 having over one million words split between 79 different fics.

So often, having people look at my fics and having their only comment be to 'write more' - feels like an insult. Because I do write more. I have written more. I write consistently. (It just sucks that people have almost nothing to say about what I have already written.)

Having people look at my fics - usually very long fics - and go "hey, this would be better if it was longer!!" or "hey, that was good, but the only productive thing I have to say about it is: make it longer" - it always feels very discouraging.

It doesn't make me want to rush to write more of that fic. In fact, most of the time, I actively avoid working on sequels to fics where the only comments are 'more please' because I know the only thing people will say about the sequel is 'when are you gonna make more?' - and oftentimes, I don't intend to make more.

I have said this in another post, but the ending to my fics are always intentional. I don't write fics with the mindset of turning them into a 100 part series. I write fics with the mindset of making them like a film or a short TV series - telling a capsule of a story with a very intentional beginning, middle, and end. And if I write a sequel, it's because I feel there is more to be told - but I will also cap off that sequel with a very intentional ending.

(Also, don't get me started on the complex of - if fics don't have the classic 'happy ending' people feel like every single thread needs to be resolved until it gets to a more classic happy ending, when I love writing intentional melancholic and thoughtful endings.)

Also - in general, I feel like people don't understand how much work goes into a fic. It might take you about 2 hours to read a fic that's 30k (and a lot of people who are avid readers probably read faster than that, reading it in an hour or less) - but concepting that fic, writing that fic, and meticulously editing that fic so that it can be readable and pleasant for people takes upwards of 20 hours of work. I would say realistically, upwards of 30 hours. And those are just working hours - hours sitting at the computer actively working. That doesn't include the time spent in between workshopping the ideas in my head while I am doing other mundane tasks in life.

It's very, very easy to consume a 30k oneshot in one sitting and then hold out your plate and go "more please!!" without putting any thought into how much work went into the original fic.

All of this just to say - please think about these things next time you are commenting on a fic (or even closing a fic without commenting at all), or doing something stupid like generating a fic with AI - which steals from everyday hard working fanfic writers. Fanfiction is hard work - it's a labour of love, and it shouldn't be about blind consumerism where you finish one and then rapidly start looking for the next one. You should appreciate each one like a good, hand pulled taffy instead of gobbling them all down like cheap candy mass made by factory machines.

Yeah - I think that's it.

-your local over worked (but still passionate) fanfic writer

[twyftwyt]

Warnings: slight smut, anger

Noah Sebastian x fem!reader

Authors note: this is a little something I found in my drafts that I’m debating on continuing (as a one shot tho)

“I thought we talked this through. Stop acting up. Not in public. Not right now.”

And he had a point. He really did. We both hated making a scene in public and we rarely had spats. We knew better than to throw fits and fists at each other, but my vision was so blurry from all the hurt and anger that my brain went blank the moment we stepped out of the restaurant.

We had a small argument before we left the hotel, to grab dinner with everyone else, but we agreed on postponing the conversation for later. For when we’re alone, between the comfort of the four walls of our hotel room. But things didn’t go as planned and escalated pretty quickly when something in me snapped the moment he made a sarcastic comment towards me, at dinner. I bit back, of course, and he didn’t like it. We were both on edge the whole evening. I could see him fidgeting a lot, tapping his knee, looking over at me and I purposefully ignored him. Which steered the pot even more.

“You know better than to act like this. Please, I don’t have the patience to do this tonight.”

That was the last text message that I got from him. At one point I got up and went to the toilet only to come back and sit on the other end of the table. As far away from him as possible. A change he noticed in an instant. I was too far gone to start acting right so I just grabbed my phone from where it was laying on the table and started typing away as fast as I could. My annoyance visible to those around me now.

“So you get a free pass in the asshole department and I don’t?!”

The moment I hit sent and my message displayed as “Seen” my eyes shot up at him. And he was already glaring at me. His eyes were low and darkened. I knew I hit a nerve. And I knew that I knew better than to do that, but I was seeing red at this point. I saw him move in his seat till he got his wallet out and put a 50 dollar bill on the table.

“That should cover our dinner. We’re going back to the hotel, because whatever was in that salad is not doing my stomach any good right now.”

What a decent liar. He got up from the table and motioned at me with his index finger. A lump got stuck in my throat, cause I knew what was coming. I hated fighting with him. Especially in cases where the fight had gotten so stupid that we’ve both already lost sense of reality and the thing we were fighting over.

I excused myself from the table and followed in his footsteps quickly. The air outside was cold and dry and I felt his arm wrap around me. His hot breath tickled my hair when I felt his lips press against my temple.

“You wanna finish that conversation in person?”

He felt hot to the touch and his body was starting to shake. Not from the coldness, I knew I had pressed a sensitive button.

“I don’t wanna fight, Noah.”

My tone was more desperate than I intended it to be.

“Then why do you keep saying silly shit?”

“Because you push me, Noah. I don’t even think you realize how you push my buttons at times and it takes all the strength I have in me to not go back to my old ways and tell you to go fuck yourself. It’s stupid, the shit we’ve been fighting over, these last few days. Have you noticed that?! We’re not fighting over little scenarios and situations, it’s deeper than that. But I’m not ready to talk about it and apparently so aren’t you. And that’s okay. We’ll get to it at some point, but we.can’t.keep.doing.this.”

I blurted out the whole thing in one breath and got dizzy shortly after shutting my mouth. We had picked up the pace and he was gripping my arms so tight that I felt like I could fly off the ground if I lift my feet.

“I think we trigger unhealed parts of our brains, thus we go back to old ways and I hate it. Sometimes I don’t even know what to do with you.”

I didn’t know what to do with him either.

“I don’t want fight over silly little things, cause we’re just gonna get tired of each other at one point. But you’re right. We do trigger each other in a way that I can’t understand neither explain and I don’t know what to do with us.”

I knew we weren’t gonna solve this overnight. So we spent the rest of the walk to the hotel in silence. We got in the elevator and as he was fumbling for his key, I leaned on the wall behind me. His tall frame was hovering over me and I could see his shoulders were tense. We were both worked up from tonight. The moment our elevator announced our floor and the doors opened, he grabbed my hand and lead me to our room. He was always firm but gentle. He was quick in his reactions and he kept his composure at all times. I admired him a lot for that. But he was too calm sometimes. Too composed. Too silent. Too much in his head. I was an anxious over thinker and he was avoidant. And we were trying so hard to give each other the needed space and reassurance, but there were times like this, where our worlds crashed. When all we wanted was to just collide peacefully.

He threw his hoodie on the couch and got out of his shoes as soon as we closed and locked the door behind us. The room was dimly lit by only the nightstand lamps and the orange light illuminated off of his body.

“I’m getting in the shower. Do you need something?”

“From the shower?”

He rolled his eyes at me and I smiled at him.

“I wanna take your tank top off.”

And I didn’t mean it in a sexual way. I just wanted to feel him close, to feel the heat emanating from his body.

“Go on then.”

He lifted his arms in front of me.

“You have to sit on the bed, babe. I can’t reach that high.”

I rolled my eyes at him this time. He stepped backwards a few times until his legs hit the wooden board of the bed and he sank down on the soft cushions. I straddled him and untuck his tank top from his sweats, lifting it slowly from his torso. I felt his hands slide down my waist and my breath stuck in my throat. I removed his tank top and put it on the bed beside us, looking down at him, running my fingers through his hair.

“You’re giving me the eyes.”

His own breaths were coming out short.

“What eyes?”

“The “fuck me” eyes. You’re giving me the “fuck me” eyes.”

“I am not.” A lie.

“Don’t play.”

“Or what?”

I saw him clench his jaw and his hands slid down to my thighs, gripping them hard, pulling me down on him.

“You’ve given me plenty of reasons to not be gentle with you tonight. Don’t give me more, Y/N.”

At this point I was grinding my crotch against his, feeling his erection grow behind the three pieces of fabric separating us. So much for staying mad or talking things through.

“I can handle your worst, Noah.”

We were both still coming down from that fight earlier and I knew what to expect. But then again, I think always know with Noah. I’ve studied and learned his ways so well, that I can tell what he’s thinking about the minute I look at him. It’s crazy to think that we’re here now, looking back at what we started as. Just two shy people brought against our will to a friends party.

I felt his slick fingers unzipping my skirt and lifting it up higher around my waist. The button on my white shirt flew, because apparently he didn’t have the patience to unbutton them one by one and I awed in surprise.

“I need you to be a good girl and get on your knees for me.”

His voice was huskier than ever, his eyes darkened. That was the Noah that took over when he couldn’t handle his emotions at the moment and left them for later. And I gave in, cause I was the same in that sense. So I obeyed and slipped down to my knees in front of him, looking at up with deer eyes. What next, my love? What else are we gonna bury with sex?

[darkcircles4lyfe]

This doesn't have anything to do with anything, but i had a talk with a friend a few days ago, about shonen biasis and the way this shapes our expectations, and mha came up so i remembered how so many people apply those biasis HEAVILY into the manga, to the point that they sound like they're looking for a different story.

And one of those things that it seemed to be MOST talked about is exactly bkdk's relationship.

I have seen many times people from the fandom (sometimes really angrily) point out how in most cases Katsuki seems to basically take up not one, but four roles in Izuku's life and this includes putting him in situations that people associate with the MC's love interest, and it is weird that, despite Izuku "having a girl" for people to make assumptions about, he seems to completely repulse any female character that could be the counter part to Izuku's.

And this made us wonder if Katsuki's placement in those roles and lack of interest was made specifically because the author precisely did not want the actions that both do for each other as romantic but a whole another thing entirely, as a subversion for the these classic tropes, as he did by making the conflict between Ochako and Himiko not a "rivals fighting for the affection of a boy" but something that is connected to the plot of these characters instead.

Oh you bet! I am always down to talk about this, because I think about it a lotttt.

This reminds me, recently I remembered a funny habit I used to have with books I read. Like, back in middle school. I used to start by flipping directly to the last page and reading the final sentence. Usually this did not spoil anything whatsoever, but sure enough, by the time I read through the whole book, that sentence would take on new meaning.

So I started musing about what it would be like if only I could do this with bnha, if everything was already out. It made me feel so nostalgic…

Will the last panel be something grand, or something small? Hopeful or sad? Distant? Intimate? A parting message to the reader? Will it look like almost nothing of consequence to the unknowing eye—yet burst with hard-hitting subtext?

Of course I wonder about all the twists and reveals that might be still ahead of us, but it’s kinda soothing to think about how the whole thing could be put to rest. Because then I realize I’m not worried.

For once, this is not because the story is following so many tropes so predictably that I know exactly, in so many words, how it will end. It’s more like the story is a close friend who I’ve gotten to know well enough that everything they do is so “them” it makes me smirk. I'm often marveling at how Horikoshi has managed to pull all this off. How is it that (at least here in the west) people who aren't really paying attention call it basic and cookie-cutter. Even a Japanese animator called it "classic," and this interview shows such obvious dissonance between Hori and the interviewer, just... wow. But it's so clear that bnha has broken just about every rule in the book at this point, so much so that I struggle to condense it into words. I'm like--*gestures broadly at everything*--why haven't more people picked up on it??

Yet we still get bombarded with people saying "it's a shonen, c'mon, we all know how this will end." Um. No you don't. I KNOW there has to be a bunch of people who are secretly frustrated by Kacchan taking up all the roles and getting all the moments. It's not even in a mysogynistic way, because Kacchan is the most anti-dudebro character imaginable. Bkdk's relationship isn't intended for them and they know it... and you know what, I'm starting to ramble. You've heard all this before. The thing I should really be focusing on in your ask is the part where you mentioned how you and your friend were speculating about bkdk ending up as "a whole other thing entirely" rather than simply romantic.

Well, fuck it, I've been biting my tongue, but now might as well be the time I talk about this. I got into a bit of a disagreement with someone over it once and then I shut up. Because it's very difficult to approach the subject without being lumped in with those people who see bkdk as "brotherly" (ew) or otherwise try to push some "crisis of male friendship" agenda, or at the very least without being accused of enabling people to make excuses against bkdk being canon ad infinitum. So let me be clear that I do NOT want bkdk to have an ambiguous or open ending. I want their complexity and importance to be acknowledged. I want them to use their words. I think we may have created a bit of a false dichotomy there.

I am aromantic, and to suggest romantic relationships are inherently the most important and intimate goes against every fiber of my being. I also reject the idea that cut-and-dry gay representation is more desirable just because it is more easily understood by the masses than aspec representation or representation of relationships "beyond" both romantic and platonic. We recognize how ridiculous it is for people to expect Izu*cha at this point, right? Well, the reason they're so confident anyway isn't just because of heteronormativity. It's also because of amatonormativity, the assumption that romantic attraction trumps all: no matter how much focus bkdk get, Izuku blushed at Ochako, so that automatically makes them more "important." THAT is the notion that I want to challenge most. More than anything, I want bkdk's relationship to be fully acknowledged because they have so much more going for them than just attraction.

You and your friend make an excellent point, that it would be very much in line with Horikoshi's taste and the patterns of his writing so far if he chose to subvert the shonen romance trope not just by giving it to two boys, but also by disregarding its premise entirely. It's unlikely he'd try to stuff them into such a copy-paste ending right at the end.

So maybe they won't get the blushy confession, the obligatory kiss, the wedding, the 2.5 kids and a white picket fence. That's fine, we shouldn't pretend those tired tropes are suddenly revolutionary just because they're gay. But don't be disappointed! Without them, we have more room for things that are actually personally meaningful to bkdk to stand out and receive the nuance they deserve: talking through their feelings openly, building each other up like no one else can, understanding each other like no one else can, smiling at each other, embracing, holding hands, rushing to the other in the hospital, being glued at the hip (or even closer), healing mutual trauma, putting each other first in all things. Maybe we'll also get confirmation on Ochako's side as she moves on from her crush on Izuku. You know what other shonen manga took this exact angle as a way of subverting tropes and presenting genuine complexity? Blue Flag! There are so many ways to do bkdk justice.

Even a kiss isn't out of the question, if the right opportunity comes along. A perfect example of what I'm talking about is Good Omens (major season 2 spoilers) because the kiss between Crowley and Aziraphale was not at all about canonizing them. It was an expression of pain and desperation that just made sense at that particular moment. Neil Gaiman was adamant that if it took that kiss to understand the context of their relationship, you really weren't paying attention. I respect the hell out of that.

Recently I was even daydreaming about bkdk getting something similar to the sort of uh, shall we say tasteful nudity, that togachako got, because of how Izuku appears in the vestige realm.

Ya know like not in an nsfw way but in like a "this is so deeply intimate and soft that I feel like I'm intruding" kind of way... yeah. Because it represents vulnerability and openness and acceptance of someone as they are. And I don't care if people call that bait. It's not. It's beautiful. It’s honest.