#IT IS SO TRAGIC BUT ALSO SO BEAUTIFUL. IT IS THE BEST THING I HAVE EVER SEEN IT WILL DESTROY ME

[fuck-you-upmusicbracket]

Achilles Come Down (Gang Of Youths)

The self is not so weightless, nor whole and unbroken/Remember the pact of our youth/Where you go, I’m going, so jump and I’m jumping/Since there is no me without you

How, the most dangerous thing is to love/How, you will heal and you'll rise above/Crowned by an overture bold and beyond/Ah, it's more courageous to overcome.

You may feel no purpose/Nor a point for existing/It's all just conjecture and gloom/And there may not be meaning/So find one and seize it/Do not waste your self on this roof

Soldier on, Achilles, Achilles, come down/Won't you get up off, get up off the roof?

"I'm sure you'll get other submissions for this one. I have no idea who this band even are outside of this song but it fucks me up like it does everyone else. It's the tragic love of it all. The desperation of trying to save your loved one from themselves. Or are the narrators of the song Achilles' own conscience representing his indecision on whether to kill himself or not? It can mean so many things and SO many parts of the lyrics are very poetic and powerful. (also again for me this makes me cry over a Specific Blorbo in this case Dimitri Blaiddyd but that doesnt matter)"

"The cellos in the background, the lyrics, telling the story of Achilles, the fact that it's fucking 7min long, it's beautiful, it breaks me to then pull me back together, it gave me hope in a moment where I wasn't in the best mental space, it's like getting undressed to your very soul only to be cover up with a weighted blanket afterwards and be told "it'll be alright." It's like that image with the guy that's like "this is cinema" but with a song, god I love this song so much"

"Ohhhg my god. It’s so. It’s a fucking heartbreaking song but it gives hope (^^see abovw lyrics. there may not be meaning so find one and seize it gets me the most). I can’t say anymore about it but yeah"

"Achilles is about to jump off the roof, his lover is trying to convince him not to. the vibe of this song itself is so unique, the violin and the segments of French reading really grip at your soul. Towards the end there are two voices seemingly arguing. One voice is Achilles’s inner monologue and the other is his lover trying to yell over it. This part is my favorite, especially if you’re envisioning your blorbo. Tbh in my darkest times I would fall asleep to the ten hour loop every night. It felt like laying on a rooftop and looking out at the stars and the street lights. I think maybe it kept me from doing things I would regret."

Drift Away (Steven Universe)

You keep on turning pages/For people who don’t care/People who don’t care about you/And still it takes you ages/To see that no one’s there/See that no one’s there/Everyone’s gone on without you

"Being stuck in one place while people, well, drift away and leave you behind. Realizing that relationships don’t always last forever. But waiting and hoping that, eventually, you’ll come back to each other, before realizing that’s not gonna happen."

Drift Away submitted by @angelicdevil

[creature-once-removed]

I've been reading and watching some reviews of Oppenheimer and am shocked at the way some people don't seem to be able to connect to characters who are a little bit closed off and inwardly complicated.

This is a film you need to bring your own empathy to. It isn't actively provoked and drawn out of you.

Which, given that it deals with the construction of the Atomic Bomb, I think is something that should be self explanatory. If you go into making this thinking "Oh I will make people feel so bad about the bombs" you're already headed in the wrong direction. It's not the question whether or not it's bad. The question is whether or not you realize it's bad when no one tells you outright how to think about it.

This movie is incredible for doing this.

[dwalendinhetniets]

just rewatched dark s2e6 and AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

[earlyspringtranscendence]

btw i think one of the most impt hobbies in the world is having a mostly non-existent, mostly self indulgent crush on a professor/lecturer just to zone out to their classes to and focus instead on their hair and their hands and their dark circles speaking NAWT from experience. maybe a little bit.

[infizero]

also having now actually seen the whole thing adventure time has skyrocketed into one of my favorite shows ever. like for real i liked it as a kid and have always had a fondness for it ever since but rewatching it now has made me realize Just how fucking good it is and how unlike anything else it is. its so good and appeals to ME specifically in so many ways please for the love of god if you haven't watched adventure time WATCH IT. WATCH IT RIGHT NOW

[silencesscreams]

"is there any chance i can fix this?" where james and reader are best friends since birth but he begins to pull away and spend less time with her in favor of the boys, so she just cuts him out of her life and after a while he doesn't know how to deal with it anymore. hiiiii

sad beautiful tragic

james potter x fem reader (angst)

a/n: sorry about any grammar mistakes, english isn’t my first language (also i’m pretty bad at writing angst but i tried my best) also immediately thought of the title because of the taylor swift song, so hope you don’t mind the association. also the first kiss part came to my mind because of a tiktok i saw a few weeks ago but i don’t really remember who’s it was to credit them

warnings: friendship distancing, kissing, fighting, cursing, a bit short (sorry), happy ending

“i’m sorry, okay? i’m so sorry, honey, please. is there any chance i can fix this? just tell me, please”

you knew james potter and he knew you. knowing meaning comprehending each other, meaning that you stood by each others side for as long as you can remember.

he was your first friend. he was your neighbor and you both grew up together, it was expected that you both would know each other better than anyone.

sure, it felt different when you both started hogwarts and suddenly he had new friends, but so did you. you spent the time you could together, always saving a bit of your days for each other.

during the sixth to seventh year summer vacation, he had spent the whole summer with you, you both would hang out all the time.

until he kissed you.

it was the last day of summer and you both had spent the evening in his room. you were talking about a book you had been reading recently and he listened quietly, like it was the most interesting thing he had ever heard of. until you paused for a brief moment and he moved closer to you. you were sat on the floor with him, the carpet tickling your legs as you played with the fluffy yarn under you.

“honey” he said, you looked at him, doe eyed waiting for him to continue. “a phrase. two words, six letters, two vowels. guess.” he said lowly whilst looking at your lips. your mind went blank.

one vowel for each word. you still didn’t get it.

“what are the vowels?” you whisper back, he smiles.

“i and e” he answers, not taking his eyes from off of you for a second. you knew.

“kiss me?” and so he did. his lips met yours abruptly, his hands grabbed your hips and yours went straight to the back of his neck. it completely changed the way you ever saw him, hell, it completely changed your expectations to a kiss. it was better than anything you’d ever experienced and you loved it.

when you got back to school, it seemed like he didn’t do that, actually, it seemed like he didn’t even talk to you the whole summer.

sure, he did casually say hello in the halls and you might’ve shared one or two conversations, but what the hell? he kisses you like that and expects you to just forget about it? that was the most fucked up thing anyone could’ve done. as the semester went on, your mind was absolutely torturing you over that kiss.

it made you overthink every single thing you ever did around him. but maybe he didn't have time, maybe he was really busy with his studies and quidditch, right? that was probably it.

he saw you every once in a while, said an awkward hi or whatever that thing signaling head thing he did was.

the crush you had developed for him didn’t help at all. it made you crave his presence in your life, even now that you hated him more than you ever thought you possibly could. you missed his pet names for you, ‘honey’ and ‘sweetheart’ sounded so amazing coming out of his mouth.

but from the moment he started to ignore you, you decided he was absolutely done. he was never going to see a smile coming from you ever again, he was never going to get another hello, nothing. james potter didn’t deserve a single thing from you.

your friends agreed. they thought he was a piece of shit and said you should’ve cut him off a long time before.

life went on without him, you barely thought about him. your studies were going well, everything was great.

christmas break came up and when you saw james at the train station, you were pissed. you knew he was going to be there for christmas dinner, he was always invited alongside with his family. you didn’t know how he was going to act then, was he going to pretend it never happened?

when you got home, your mother instantly started asking you what you wanted for dinner and you were glad to be home, you just hated that he was in the house next to yours.

a few nights after you both got home, you were invited for a date by steven, who worked at a bookstore near the city park. you said yes, he took you to see a shitty movie and tried to kiss you after dropping you off at your front porch. you dodged it and gave him a good night kiss on the cheek. james saw it all.

once the date left, you heard him yelling from his porch:

“who’s that?” you ignored him and went inside, sure, you weren’t going to see steven again but james didn’t deserve to know that.

on christmas day you went to the potter’s for dinner, your parents insisted for you to go, even though you tried to fake being sick. sirius was there too, you politely greeted all of them and didn’t bother to answer james’ “hey”.

when you sat at the side of the living room table james sat next to you, even though that wasn’t his usual seat. you played with your dress awkwardly and ate less, being there was making you so irritated you lost your appetite.

after taking a bite from your dessert, you thanked euphemia for the food and told your parents you were feeling a bit sick and that you were heading home, telling them to enjoy the rest of their night.

as you were opening the door to head out, you heard footsteps behind you. you knew james was there and you had no interest to talk with him.

“don’t” you simply stated, stepping out and shutting the door lightly on him, he followed you during the small walk between both your houses.

“hey!” he shouted, trying to get your attention. you were about to shut the door to your house on his face, but he held it with his foot, going into your house.

he pulled you by your wrist but you tugged it away from him.

“don’t touch me!” you shouted at him, staring into his eyes for the first time that night.

“now you can talk to me, huh? ‘the fucks up with you?!” he shouts back, brows furrowed. you couldn’t believe him, what a fucking nerve he had.

“whats up with YOU?!” you step closer to him, throwing your keys on the coffee table in the middle of the living room. “you’ve ignored me for the whole semester and now you wanna talk?” he had never seen you like this. you had never been this angry at anyone or anything around him.

“i’m sorry?” he had no reaction, he knew he was wrong, he just couldn’t deal with it. with anything. he didn’t know what to do after he kissed you, he couldn’t handle any of it. he knew that if he spent more time around you he would fall harder, he couldn’t risk it.

“i’m sorry! now that you don’t have anyone else near for you to talk to, i’m worthy of your attention? i’m so lucky, right?!” your eyes started to tear up, but you held it in, he was not getting to see you cry.

“honey, i’m sorry i didn’t talk much with you these past few months, but i tried to speak with you tonight and you didn’t even bother to answer me!” he ran his hand through his hair, looking at you as you sat down on the couch, staring at your hands.

“you didnt even look at me. the entire fucking night. one lousy ‘hey’ is not trying to do anything” he handed you a piece of paper, it was crumpled up in his jeans’ pocket. you knew he was bad with words, but the paper was written front and back. what was he even trying to do? did he think a letter was enough to fix the damage he had done?

“really? you’re a little too late for this, don’t you think?” you said, looking at him angrily.

“fine, don’t read it then. just keep it, okay?” he knew you were about to cry. it was the worst feeling he had ever felt.

“you don’t get to do this to me, james” you hold back tears once you say it.

“i know, honey, i know” he tucked a strand of hair behind your ear, cupping your face as you try to not melt because of his touch. he kisses you, but this time you pull away.

“no. don’t do this to me” you say, a single tear streaming down your face, he wipes it off but more tears just keep coming

“im sorry, im so sorry for everything i did and-“ you interrupt him.

“could you just try to listen?!” you shout, pulling away from his touch again. “what makes you think that i want this? after all you did, better, all that you didn’t do?! you kiss me and expect me to forget about it? expect me to be okay with you ignoring me all the time just because you kissed me again? i can’t be okay with any of this unless you actually explain to me what happened. i really try to understand you, but all of this doesn’t help!”

“i love you” he says “i have loved you all my life and i didn’t know, after i kissed you it all hit me and i couldn’t trust myself around you anymore, i didn’t want to hurt you so i pulled away, i just didn’t know it would hurt you more like that. i’m sorry, but im here now and i want to show you how much I do love you” he pauses and sits next to you on the couch.

“i’m sorry, okay? i’m so sorry, honey, please. is there any chance i can fix this? just tell me, please” he wipes the tears from off your face again. you knew he meant it, you just didn’t know how to trust him again.

“i don’t know” you whisper, looking into his eyes, you had never seen him look this sad. you wanted to trust him, you really did, but how could you? how could you know he wasn’t going to pull something like that again?

you couldn’t be sure of anything, you could only hope for the best and be careful. so you gave it a shot.

“come here” you say lowly, pulling him in for a hug. he buried his face in the crook of your neck and gave you small kisses.

“i’m so sorry, baby” he whispered.

“i know” you whisper back, he looks at you and gives you quick kisses all over your face. you can’t help but smile.

it was going to take a while for you to trust him again, but you knew you could.

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design. 

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

 It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

[adventures-in-mangaland]

Another Dead Boy Detectives Fic Rec List

Netflix sucks and I'm sad, but the Dead Boy Detectives fandom continues to be awesome, so here are some more very quick fic recs!*

Tonight's the Night You Fight Your Best Mate's Dad by Opossum_Subatomic

Everyone's Alive College/University 5+1 things fic featuring Charles bringing Edwin coffee and slowburn payneland. Also Family/Wedding Drama involving Everyone Thinks They're Dating so acute is verges on Fake Dating. This author is seriously fantastic, everything they write is gold.

You should also check out Kissing Lessons, which is a high school AU that does what it says on the tin while also giving non-binary Monty and polyamory.

Ornithology by Rosie447

Monty gets a job working at Tragic Mick's. This one's not actually payneland, being gen and Monty-centric. I know, gasp. It's a fantastic and very sweet exploration of Monty discovering his sense of self post canon and works as a great metaphor for recovery from toxic family/relationships. Also, the ex-animal solidarity and bonding with Mick is lovely.

what some circumstance stole by Chrome

The Sandman crossover featuring Edwin and Hob being kidnapped and tortured together. Their friendship is really wholesome with eventual Father Figure and Found Family Feels for the whole agency and background Dreamling.

dandelion wine (life and death in summertime) by world_wanderer

Payneland Right Person Wrong Time AU in which neither of them die but they still meet and become friends. The May/December friendship is sweet but tragic, with a bittersweet ending. Superb.

Mirror Image by Anonymous

Charles' afterlife gets taken over my an evil shape-shifting doppelganger, leaving him with plenty of time to regret never talking to Edwin about his feelings. Angsty but with Feelings Realisation and the Power of Love and Friendship vibes.

my healing needed more than time by babyseraphim

Case fic with de-aged Charles! Baby Charles is precious but be prepared for discussions of childhood trauma/abuse.

The same author has also written I'm So Aces at Babysitting, which is a really cute two-chaptered AU featuring Charles and Edwin babysitting the kid versions of each other, with bonus Crystal and Niko doing the same. It's very wholesome and the author writes little kids really well.

Pouring into me by tragedy_machine

Love me some "Charles wants to date Edwin to figure out his feelings but gets turned down" fic. Feelings are hard, OK?

thank u, next by KiaraSayre

Edwin fucks and Charles seethes. It's very funny and also features some interesting worldbuilding with the Fae.

Like We've Never Known Hurt by dearheartdont

Just cute established relationship PWP and praise kink. So good.

all of these hollows by handwrittenhello

The boys are alive again but sans memories. Can they still find each other and prove their devotion to the Night Nurse?? While also evading heavenly and hellish forces trying to keep them apart??? Very interesting concept executed well.

Suo Gân by emryses

The agency takes on the case of a traumatised Edwardian ghost searching for her missing baby... Read it for Edwin family feels.

Where Primroses Bloom by PantryJesus

Reading aloud as a love language and Watership Down feels. Idk, I'm now convinced that Edwin is kind of rabbit-coded with the whole "if they catch you they'll kill you. But first they must catch you" thing. A lovely well written fic.

I'm so sick of online love by Hse11z5

College/University AU where the boys meet through a dating app. It's cute.

you can have the best of me, baby (and I will give you anything) by aletterinthenameofsanity

Again, it's the Friends with Benefits but with real feelings and mutual pining for me. Now has a Charles PoV companion fic.

True Love's Kiss by Asidian

In which Charles curses himself with a Sleeping Beauty enchantment in order to confirm his feelings for Edwin and Crystal is the real MVP. I love this one because the boys are both SO stupid but in very different in-character ways.

I also recommend Promised, in which they kind of play the Green card angle to keep Edwin out of Hell? Which honestly needs to be more of a trope. And Tight Quarters, starring the boys trapped in a magic circle, leading to Forced Proximity induced Feelings Realization (in more ways than one! 😉).

Something I Can Turn To by DontOffendTheBees

I love some domestic fluff, in this case as an Everyone's Alive/Childhood Friends AU in which the boys are poor but happy living together. I liked how they both survive their respective traumas, but Reality Ensues.

I also recommend Lived My Whole Life Before the First Light for a lovely but melancholy Soulmate AU that goes for the "seeing colours" trope for extra wistful angst.

Dining at the Ritz by TerresDeBrume

Meeting the Parents fic in which Edwin's parents are awful and Charles is Not Having It. This has Everyone Thinks They're Dating and autistic Edwin stimming representation, plus discussions of racism, classism and ableism. The fic is also part of a great Modern AU series in which the boys attended St Hilarion's at the same time and Charles saved Edwin from a non-supernatural but still almost deadly prank. Highly recommended!

The Case of the Couples Retreat by juliasfanart

Listen, I can't get enough of undercover fake dating/relationships at a couples retreat, OK? Some minor angst but overall very cute and fluffy.

acu (aysar cinematic universe) by ObsessedWithFandom

The agency is hired to solve the mystery of Charles' death and bring his killers to justice. I'm genuinely obsessed with this series; I love its OCs and Charles having an exboyfriend gives Edwin a fun crisis. Plus haunting Charles' killers is very satisfying and cathartic. Just imagine they're Netflix execs, y'all.

*Not actually quick, as it turns out. 😅

I love doing these lists because I always think I've only got a few recs and then I look back over my recent bookmarks and I've got a metric ton of great fics to rec. You guys are so talented. ❤️

[aebinspa]

dopamine

PAIRING: giselle x y/n reader

GENRES: suggestive, angst, reader hates giselle and they end up doing a project for school together lmao, meangirl!giselle, reader and giselle are a menace to society, jimin (aespa) and juyeon (tbz) are in a study group together and they are incredibly optimistic, mentions of sex, kiss, swearing.

WORD COUNT: 2.5k

AUTHOR'S NOTE: english is not my first language! so i’m practicing my writing hoping it can get better and better. AND stream giselle's dopamine it's so good <3

Nothing could have prepared you for the worst news of your life: you, aware that you love loneliness and hate forced contact with others, were assigned to group work with Aeri Uchinaga, famous for not contributing to any group work and for being always in the middle of too many, too many men.

After leaving a resigned sigh you approach your best friend Jimin to tell her about the unfortunate fate that struck you. "Among all and I say among all those that could happen to me, HER" "You’re tragic even if she has a bad reputation. Perhaps a woman like you who does nothing but read, read, and read will surrender and become incredibly willing!" "Funny Jimin. Who did you get?" "Juyeon and they also say that besides being incredibly beautiful he is also incredibly gifted" whispers Jimin, thinking that this could save her from the embarrassment of such a statement. "Enough, I’ve heard enough. I’m going home."

On the way back, angry and sad, you noticed a really nice coffee in which you would have wanted to stop but the change that you had in your wallet would not be enough even for half a sandwich. The puff you pulled out scared a stray cat that was stealing a piece of bread from the ground. Why does everything feel so strange to me?

The next day, as you arrived in class, you noticed Juyeon’s huge body very close to your best friend’s; you came up to check if Jimin was all right only to see that her face had a loving expression. "Good morning guys" you are starting, trying to forget what you just saw. "Hi, Jimin told me a few things about you. How nice to meet you" The two-door wardrobe that took the name of Juyeon squeezed you in a strong embrace that leaves you breathless. Men are really scary. "Hey Y/N, Giselle was looking for you earlier." "Who?" "That’s how us boys call her!" "You… guys?" "Giselle is part of my group, at least once we all go out together!" Juyeon’s enthusiasm was overwhelming but not enough to influence you. "Ah, she's going out with you."

"Y/N" What a hateful voice, not changed by a comma. You didn’t sunbathe at first; you wanted to see how much the little princess could have withstood without a bit of attention. Juyeon - this time with the help of Jimin - thought about involving her. "You might as well look me in the eye when I talk to you." "Go fuck yourself, Giselle. You sound like the 'ass-kicking' girl”. It didn’t take even half a second for you both to turn in the opposite direction. Jimin and Juyeon, moved by the situation, tried to calm things down. “How about you girls come to my house? Jimin and I have to do our project but there’s no problem if you come too. The table is big, the fridge is full and the more the merrier!” Juyeon shouted enthusiastically.

The idea of ​​being alone in an empty room with Giselle terrified you so it didn’t seem like a bad idea to accept without too many problems; the other seemed to agree too.

“Perfect! Then let’s all go to Juyeon’s this Friday afternoon!” Oh Jimin, you could have avoided this.

Unfortunately for you and Giselle, Friday arrives in the blink of an eye. Juyeon’s imposing house stood in front of you and Jimin. “Not only is he handsome and gifted, but he also has a huge house. What more can I ask for?” “You could say a little prayer for me, for example” “Giselle won’t be able to tear your hair out if Juyeon and I are there with you” Jimin smiled at you as if to reassure you. “Good thing you always see the positive side…” you replied, already tired at the idea of having to enter that house.

When you entered, Giselle was already sitting on the wicker chair in the lush garden that was attached to the house. “Girls, here you are. Jimin can you help me bring some snacks out?” Jimin didn't have to be told a second time and rushed to help the boy after sending you a flying wink. You approached Giselle and sat in the chair opposite her, to maintain some distance. It was the first time you had seen her like this. The dark hair that she always combined with clothes of the same shade was this time combined with a long white dress that made her almost ethereal; the glasses made her face prettier than the one she had always adorned only with heavy black makeup which yes suited her well but a lighter shade made it stand out even more. Maybe you found yourself staring at her too much because when your eyes met you saw a smirk of victory on the girl’s face.

“Are you admiring what you’ll never have?” “And what is this thing I’ll never have? Dignity?” “The chance to brag about how beautiful you are” “Oh, the princess of everyone’s bed spoke” “I don’t have sex with men” Giselle replied somewhat upset. “Oh, so all the things they say about you are false?” “My group of friends is made up of all gay men and one straight man” Concern for Jimin filled you for a moment and you stopped the conversation in progress. “Juyeon's not gay, right?” “As if your eyes can't see how he's hitting on your best friend, you dumbass.” "Here's all the snacks!" Your darkened and frowning faces turned abruptly towards the two newlyweds and then shouted "Shut up!" Jimin resignedly rolled her eyes.

The first half hour you and Giselle spent arguing over the theme of the PowerPoint presentation. “This is an old lady color” “This is a funeral color though Y/N!” "You love funeral colors!"

The next two hours were spent looking for information on the same topics which later turned out to be identical; cause for further argument. When Juyeon and Jimin finished their work, you were still in the first part of the project. Your best friend and the guy disappeared somewhere after two minutes; when you received a message from Jimin you found out that the two had gone to stock up on chips.

“So you hate me?” You never expected to see such a piercing look on Giselle’s face. “No, I find you annoying and everything they say around you about you seems to confirm it” “I already told you this is all fucking fake” The black-haired girl ran a hand through her hair and turned her gaze elsewhere. “People love to say everything that comes to their mind. I'm a lesbian, men don't interest me. After I refused to have sex with a guy I was paired up with for a group project, he went around telling people that I'm a terrible partner and that well… slutshaming and other not-so-nice things about me."

The silence that followed immediately afterward was extremely embarrassing for both of them. “I said a bunch of bullshit, I'm sorry. I always imagined you through gossip, even though I know that Jimin doesn’t think of you as a slacker and that Juyeon is your best friend” “Y/N” Giselle tried to butt in. “Listen Aeri, I’ll make it up to you. I don’t like you but I have to admit that despite the various arguments you’re a real looker and what you say sometimes makes me laugh so all in all, you’re not bad” Giselle laughed. “Oh my god, are these supposed to be an apology?” "My apologies" “You should make them better. No nice man would pursue such a lunatic." “I'm not interested in men. They're just accessories to me.”

Giselle only stopped laughing when you said that. “But the two boyfriends you had last year?” Without asking how she knew, you continued with your speech. “A Cover to keep my parents from realizing I’m a lesbian. Same old story. They were nice accessories at least”

The tension between the two of you was growing more and more. Giselle slowly approached you, first placing a hand on the floor where you were lying and then bringing a leg forward. “How long has it been since you kissed a woman, Y/N?” You gulped down. “How long has it been since you kissed a woman, Aeri?” Giselle was a millimeter from your lips, hand on your thigh, and hand next to yours. If only it hadn't been for the scream that Juyeon pulled open the door, something would have happened, Giselle quickly moved away and muttered “What an idiot he is” as if the house didn't belong to him to begin with.

“We’re back! Is everything okay or did you get into a fight?” A restrained, fake laugh came out of your mouth and so did the words that came out of it. “We were one step away from having ourselves by the hair” You couldn't describe the look Giselle gave you.

The next day at school, you noticed that Giselle’s desk was empty. Worried, even though you didn’t want to admit it, you asked Juyeon for the girl’s number. Juyeon couldn’t help but smile as you saved the number on your phone. You immediately texted Giselle, asking why she hadn’t come to school and threatening to break into her house through the window if she didn’t answer. To your surprise, Giselle responded a few minutes later with a raised middle finger emoji; to which you of course responded with another middle finger. The next message made you lose your mind. “Bitch, I'm waiting for you at my house. Don't break my door, please”.

As you walked towards Giselle's house, you wondered where this interest in such an annoying person had come from. Interest was a big word, but yesterday you were the one who almost threw yourself into the arms of a girl you felt like you had hated for a lifetime.

When you arrived in front of Giselle's house, you knocked so loudly that the one who looked out the window was the neighbor and not the interested girl. "Holy God, what a mess you make!" Giselle in pajamas and slippers opened the door and made you smile. “Cute pajamas” “Go shit”

You went up the stairs and arrived in the girl's room. The room, to your surprise, was pink wherever you turned to look at it. “Hello Kitty puked on it?” “Perhaps you mean My Melody” “Even the canopy bed, princess” Giselle lay down on the bed and waited for you to do the same. “Shall we finish the work?” “I’m in”

Compared to the day before, things seemed to be going better. It wasn’t just the arguments that kept the exchange of information going but also the moments where you both dedicated time to listening to each other’s opinions.

“Done! And fuck it all!” “Hopefully we get a good grade” "God Y/N who cares! It's already a miracle to have managed to finish something like this." You nodded to let the other person understand that for once you agreed on everything. You printed out the sheets with the part that each of you had to do for the presentation and then threw yourselves on the bed again, tired of everything.

“Do you find school that fun?” Giselle was the first to speak. “No, simply when I don't know what to do I start reading, reading, reading. At least that’s what Jimin says” “I can’t stand it.” “Maybe you can't stand the people who are there” “Yes, but I hate everything about that place. The desks, the air that makes me uglier, the men, the homework, and group studies" You thought a few more seconds before answering her and, taking a deep breath, you turned towards her. "I can make you change your mind" “You can try but I don't know how well it works” “There's me and Jimin in the class. Then we can study together and everything will seem fun!” “See… You like school” Giselle's face darkened. “I enjoy being with Jimin. There's also Juyeon! And well… I'm here." Giselle turned away and didn't speak to you anymore.

A day went by and Giselle never replied to your messages. That morning you were supposed to present the group project. Not only had she stopped responding to the messages you were sending her under the desk, but she was also late for the presentation. A terrible thought passes through your mind. Did she stay home? She knows that the teacher gives a failing grade when something like that happens.

Jimin and Juyeon brilliantly finished their presentation and the applause, luckily for you since you were supposed to present later, lasted for two minutes. “Y/N and Giselle are next. However, I see that one of the two is missing. I will have to give you a good-” The classroom door suddenly burst open and all the eyes of your classmates and yours moved from the teacher to the figure of Giselle, who noisily began with a “Teacher, Y/N and I are ready to present!” A small smile appeared on your face.

Fortunately, the presentation given by you and Giselle surprised the class and the teacher who seemed to have very low expectations. During the break, you grabbed Giselle by the arm and led her to a secluded space. It was she who spoke first. "Excuse" “Don't be sorry, strangely everything went well” A silly bit of tongue from Giselle made you grin. “It went better than expected, yes.” You nodded. That silence that now characterized your relationship was starting to be too heavy to bear. Giselle came close to your face. “Teach me what having fun at school means, you little bitch,” she began while doing nothing but staring at your lips. "I know a better way to have fun." It was your hand that brought your bodies together and united them. Within seconds, Giselle approached your lips and began to kiss you without fear of being seen. Your tongues and legs intertwined as the kiss became more wet and passionate. You were the first to break away from the kiss, leaving you breathless. “We're going a little too fast” “We're just reversing the lessons a little bit. I kissed you first so you can teach me all that bullshit about how great school is." “And what happens after I teach you everything you need to know about school?” The bell announced the end of the break. “Well, after that I can see if I trust you and if we can go further.” "So kiss, school, sex, and only if these three work can we be together?" A loud laugh escaped your lips and Giselle without answering began to head towards your classroom.

“You know Y/N, maybe my plan could work” “There’s never been a plan that I couldn’t make work” The look you exchanged sealed a long and lasting agreement between the two of you.

[shutupineedtothink]

More ep 7 thoughts, now that I’ve watched it twice and processed 🫠

Bookending the episode with Lilia’s fall but first it’s down and then it’s up - sick, twisted, beautiful, devastating, I’m crying

The soundtrack really goes hard in this ep

The wildest part about the “ex best friend” line is all of those things are equally insane - ex, ex best friend, or best friend. Like ma’am what hex were you living in

Babysitter is likely a reference to the comics, but interesting also in terms of WV because we saw Agatha babysit the twins only once I think. Does this mean she actually spent more time with them than we know?

Wow once again Kathryn Hahn is doing so much work in this first scene with Billy, she’s going from snarky to wary to calculating to hurt to i don’t even know. She’s doing a masterclass in face acting.

When they start to climb toward the castle, Agatha has her hands clasped behind her back and initially I was just like ma’am, why are you like this, but then I realized oh. Her hands are tied right now.

Waning moon for the Crone trial babyyyyyy called it

Fun and fast transition to get us into the trial, since we know the deal by now

She’s based on me you know — sooooo, tragic, misunderstood, secretly suffering her whole life, constantly judged by others, uh huh uh huh

Prove it - he really doesn’t believe a word she says! And she looks so hurt by it!

The way Agatha sits in the chair omg girl please chill

This is such like an Indiana Jones trap I love it

God I love Lilia’s visions, changing the perspective to hers, the blurring around the edges - sometimes you don’t need to do much, but it’s hella effective

Actually a lot of good camera tricks in this ep I’m not going to point them all out

It’s about limiting beliefs baybeee - once again the writers showing they know their psych

I’m sorry that tea leaves to the underground transition??? Spectacular

“Well tell me what more I should see when I look at you. No, I mean it” - hey nonviolent communication, how’s it going 🤌

God can you imagine how scary it would be to have these visions as a CHILD

Did you not see imminent impalement in your future?? Lol why did this get me

I get the fake nose on Agatha but idk maybe I could’ve done without it

Teenager his full name LOLOL underrated joke

Dory OMGGGGG

Jen being the ultimate Lilia champion this ep and I love it. Also seems to contradict her behavior even more in Agatha’s trial, but she’s still more snappy with Agatha here too

What are you wearing, I don’t wanna talk about it - bruh every line. EVERY LINE.

Did I mention the transitions are killer

Your task is not to control but to see. - I, I can’t keep writing down every line but

I love that as soon as Jen knows what’s going on, she’s totally on board, just asking Lilia for intel, like yep this is normal now

Ahhh the spell book. Interesting that Lilia finds it.

Ohp - I wish Lilia was here. Ask and you shall receive - see the Billy’s Road theory

She calls him baby again 😭

Is snappy dialogue one of my biggest joys on this earth? I think it is

Proper tarot takes time and care. And leads to large gaping wounds - …. You mean like internal wounds? Like trauma? Like you have to bring up the trauma to heal it? Uh huh uh huh cool cool cool cool you said it Agatha not me.

The Magician, the ability to turn all of your goals into reality - Agatha immediately side eyes him. Bruh.

I’m a forgotten woman. Then remember yourself. 🤌🤌🤌

I was falling. I will fall. - CAMERA. MOVEMENT.

What will you do with your remaining time 🤝 all we can do is decide what to do with the time that is given to us. Iykyk.

The subway baybeee get that House of R theory

God this tarot spread scene is so epic.

Ok Jen being the path ahead… I gotta come back to that

Agatha is the obstacle yep that makes sense (but the obstacle is the way)

Windfall - Billy, miraculous transformation uh yep ok

Destination - Death. Such a good reveal, even if I already knew it. Once again the power of good writing. In the end all roads lead to me. UGH WTF

NOT THE GREEN VINES SPELLING A BIG OL ���R” WHEN THE DOORS OPEN

The original green witch…. Ok so she is in the coven… but also Billy’s in the coven? It’s a shared black heart? Or it means you can go one direction or the other… hm.

Ughghghghhh her just giving them each what they need before she sends them onward. She’s the GOAT.

Did I mention the music????

This whole scene is so EPIC. The tower upright fuck it up queen

Oh my God Lilia took her power back 😭

We didn’t see a body unlike Alice I’m holding onto that “see you at the end” lyric with all my might at this point

Time in a bottle was sick and twisted and beautiful I love it

I just… can’t believe this is something I got to witness. Like it’s so good I’m mad about it.

A few other quick thoughts:

Jen being the path ahead… if she was birth in the first trial (see my maiden mother crone trial theory), then maybe she’s also REbirth? It’s a circle sewn with fate… we’re going back to the beginning but emerging from the Road this time. Eh??

Patti…. PATTI!! Where’s her Emmy? Where’s the show’s Emmy???

Not only was this a better time travel plot than the rest of Marvel as I said in another post but it’s also better than time travel in Doctor Who for the last 10 years and that pisses me off low key.

Not to jump ahead but buckle up kids cuz if we’re following the loose structure of WandaVision then ep 8 is our flashback/reliving the trauma episode for Agatha and as much as I was destroyed by this ep I am so not ready for all of that.

Anyway. What a masterpiece. I’m DONE.

[lamuradex]

Okay. Here are the things about The Count of Monte Cristo I adore, but I am certain adaptations will get wrong without having watched any adaptations.

Edmond's father being a major motivator for his revenge. Films, for brevity, mainly seem to focus on Mercedes and his ruined marriage. Thanks Hollywood.

Villefort having no connection to the other people who betrayed Edmond. One of the most tragic elements is that Villefort is actually about to save Dantes, right before he sacrifices him to save himself. I'm aware of at least one musical that has Villefort conspire together with Danglars and Fernand. I love the songs but that bothers me.

Caderousse. I can imagine some versions cut him out as superfluous. The musical seems to replace him with Villefort. But he's the fourth conspirator! And the first to fall.

A whole bunch of the subplots. Do the films need all the stuff with Monsieur Noirtier? Maybe not. Is Monsieur Noirtier the best character in the book? I think so. He's the most magnificent bastard in the plot.

The Morrels. Again, is it strictly necessary? I don't know. But, again, is there the scene where they reveal Monsieur Morrel's last words were to remember Edmond Dantes, making it my favourite scene in the book? You bet your ass!

Seriously, so many subplots I can see them cutting, but each one pays off in some way. Vampa, Franz, Eugenie Danglars, the Abbey Fariah's book

That scene at the end where The Count goes back to the Château d'If is beautiful

Adaptations will try to give it a happy ending, getting him back with Mercedes or something. But that isn't the point of the book.

Only a handful of characters get out of the book happy. And most of them have gone through hell first.

Also, The Count never actually fights anyone with a sword. He could, he's apparently lethal, but he never does. He's about to once, but then Fernand fucking panics when The Count puts on a sailor suit.

He literally leaves the room, gets changed, and then comes back in a sailor's uniform. It's so extra and I love it. And Fernand loses his shit! Understandably.

The whole revenge plan is so extra, so complex, so convoluted, there is no way you could adapt it all into a film.

And all because Edmond knows the Abbey Fariah wouldn't want him just killing them. Because that would be against God.

So instead he unleashes hell on them!

It's classic "No, I didn't kill them. They're just trapped in never ending misery for the rest of their days. So it's fine."

Bleed them dry of money, out them as a criminal, introduce poisons to his wife and introduce his illegitimate bastard to society.

I can see why you could never truly adapt this book.

Doesn't mean I have to be happy about it.

[sweet-s0rr0w]

Vintage Drarry Fics

Thought I'd put together a list of some of the old Drarry 'classics' of my teenage years, for anyone interested. All posted between 2001-2006, compiled using my (bad) memory, a lot of googling, fanlore.org and numerous different LJ rec accounts (including the incredible @capiturecs). I checked as best I could, but if anyone knows of any fics that their author doesn't want to be shared, please let me know and I will of course remove.

Please also note that these fics are of their era, when attitudes may have been different, and they may not all be grammatically perfect. I haven't reread all, as my own tastes have changed, but most importantly do note that they may not be tagged - don't blame me when, for example, Harry dies tragically on a rooftop at sunrise...

Hogwarts Era (mostly 5th-7th year)

A Thousand Beautiful Things by Duinn Fionn/geoviki (M, 105k)

Draco Malfoy struggles with changed fortunes, shifted alliances, an ugly war, and an unusual spell, with the help of a concerned professor, an insightful house-elf, and an unexpected Gryffindor friend.

All Bets Are Off by Allegra (R, 53k)

I am SICK of Good-little-innocent!Harry...Enter Playboy!Harry and his Overinflated Ego, a challenge, a bet, a couple of Really Cunning Plans - and there you have it, "Forty days and forty nights", Hogwarts style. Mayhem ensues! 

Angels and Devils by beren (E, 52k)

Harry defeated Voldemort and his act of heroism is famous throughout the wizarding world. He's trying to finish his final year at Hogwarts in peace, but, thanks to the method he chose to destroy The Dark Lord, something peculiar is happening to him, something he never would have expected. It's all rather embarrassing and making his life very complicated.

Artful Facade by Sky Sorceress (T, 66k)

Sometimes you fly too close to the sun and lose your wings. With sixth year approaching, the danger Harry seeks can be found only in the form of Draco Malfoy. What follows is a twist in the line between hatred, love, and need.

Beautiful World by Cinnamon/Lissadiane (M, 70k)

Harry finds out he's going to die on his 16th birthday. He embarks on a journey of self-destructive behaviour and drags Draco along for the ride. 

Beneath You by Cinnamon/Lissadiane (M, 113k)

Draco had no idea that the repercussions of stealing Potter's journal and shoving it down the back of his trousers would be so extreme.

Bond by AnnaFugazzi (M, 173k)

It seems 95% of H/D writers feel compelled to write a "Harry And Draco Are Forced To Be Together By Something Beyond Their Control And Then Unlikely Stuff Happens That Leads To Twoo Wuv" story. Count me among the 95% ;)

Checkmate by Naadi Moonfeather (T, 245k)

Draco has the perfect plan to get Harry Potter and challenges him to a game of Dare Chess. But is it love, or betrayal, he has in mind?

The Cicatrix Cycle by Ivy Blossom (NC-17, long!)

Three parts: Origins, Haven, Belong

Draco In Darkness by Plumeria (T, 41k)

Following an accident in his seventh year, Draco loses his eyesight. After Harry elbows his way into Draco's dark world, both boys find themselves in a strange new friendship, and they each learn new ways to see each other … and themselves.

Eclipse by PhoenixSong/Mijan (T, 287k)

"You're dead, Potter... I'm going to make you pay..." Draco swore his revenge on Harry for Lucius's imprisonment, and Harry all but laughed at him. But Draco is planning more than schoolyard pranks this time. The old rivalry turns deadly when Draco abducts Harry for Voldemort. It's the perfect plan, guaranteeing revenge, power, and prestige, all in one blow. But, when Draco's world turns upside down, the fight to save himself and Harry begins, and the battle will take them both through hell and back. If they come back. 

Friend Like Me by Lady Vader (M, 11k)

Draco's rendition of the love story that never was.

How Harry Potter Got His Groove Back by Durendal/Eleveninches (R, 12k)

Snape tries to hang himself, Draco enters an alternate reality, and Harry Gets a Clue. Humor, SLASH, naughty language, and other Evil Things. Harry/Draco, Snape/James/Lucius.

Irresistible Poison by Rhysenn (PG-13, 124k)

Under the influence of a love potion, Draco learns that poison doesn't always bring death -- there are other ways to suffer and live. Chemical emotion runs feverish as Harry and Draco discover the intoxication of love.

Lettered by pir8fancier (M, 7.8k)

Harry has a secret penpal, whose identity is as plain as the nose on his face. Except he's not wearing his glasses.

Love Under Will by Aja (R, 116k)

In their 5th year, Harry and Draco choose to be with one another; but the story--and the battle-- is just beginning...

playing the game, living the lie by Abaddon (R, 159k)

Set in Sixth Year, both the wizarding and Muggle worlds are threatened as Voldemort plans a final revenge. Past, present and future collide as all must consider where their loyalties lie; who they are, and who they want to be. Amidst it all, Harry and Draco begin a dangerous journey of understanding. Is it possible to leave everything you thought you were behind?

Resolution by Frances Potter (R, 322k)

When you've spent six years fighting evil, all you really want is a quiet time. But when your name is Harry Potter the chances of that are very slim. A series of vignettes chronicling Harry's final six months at Hogwarts. Exams, friends, lovers, Quidditch, the war and Draco all conspire to make the year end seem a very long way away.

Seamus is Seamus and You are Yourself by Ari Munami (PG-13, 31k)

Harry goes through some er... changes in his Sixth Year and everyone, including Draco Malfoy, sits up and takes notice.

Snakes and Lions by GatewayGirl (M, 139k)

When Ron and Hermione get together, they notice only each other. A nightmare prompts Harry to return alone to the empty Chamber of Secrets, and leads to a new look at an old enemy. Harry enjoys the company, but with Bellatrix Lestrange actively hunting him, how far can he trust a Death Eater's son?

Something Impossible by epicylical/Cassandra Claire (PG, 6.4k)

As punishment for an act of vandalism, Draco is forced to perform three tasks to win Harry's forgiveness - only they don't turn out to be exactly the kind of tasks he'd been expecting. With wet shirtless Draco, paint-covered Harry, and Proust-reading Goyle.

Transformation by amalin (E, 98k)

In Harry's sixth year at Hogwarts, he must face the consequences of the attack on the Department of Mysteries and the effects of Voldemort's return. And in doing so, he finds that even your enemies can teach you valuable lessons—about the world, and about yourself.

Walking the Line by SilentAuror (E, 179k)

Sixth year is over and Draco Malfoy is on the run. The war is on and an unwanted assignment is forced upon him by the only people he trusts - and a one-time arch-enemy just may be out to kill him.

Post-Hogwarts

Adagio in G Minor by furiosity (NC-17, 18k)

Seven years after Hogwarts and the war, life continues in the wizarding world. Draco Malfoy is rich, bored, and slightly jaded. Harry Potter is famous, busy, and somewhat disillusioned. They've not seen each other since school ended. What would happen if they were to cross paths again? What if it involved music?

Big Dick, Come Quick [PDF] by Calanthe (NC-17, 204k)

Draco’s got a theory. About sex. And after much searching for the right candidate, it appears that only Harry Potter, his life long enemy, can help him test it out.

Draco's Escort Service by Cheryl Dyson/dysonrules (15, 12k)

Draco's job is to escort travelers through the dangerous, war-torn countryside. Harry Potter is forced to hire him, but his destination isn't quite what Draco expected.

Left My Heart by Emma Grant (E, 85k)

Auror Draco Malfoy has disappeared, and Harry Potter has been sent to San Francisco to find him. 

Malfoy, P.I. by Nancy (R, 60k)

"I'm Draco Malfoy, private investigator. I've seen a lot--I mean a lot, and I'm like sweet seventeen a lot. I thought I'd seen it all, until a pair of green eyes stepped into my office." A noir AU set in L.A. where passion and magic collide. Slashy and sexy.

Queen of Hearts by scoradh (E, 65k)

A spectre is haunting Harry - the responsibility of his destiny. It looms over his future and, more importantly, over the future of his friends. Harry is determined to exorcise this spectre for the greater good, but on the way, he enters into a few unholy alliances.

Tissue of Silver by fearlessdiva (R, 76k)

A love story concerning possessed furniture, black silk pyjamas, courtroom drama, premonitions of doom, assassination attempts, Death Eater yoga, absinthe, bare feet and a sensible werewolf.

Tomorrow, and Tomorrow, and Tomorrow by November Snowflake (M, 58k)

When the long-missing Draco Malfoy turns up at a Ministry field hospital with amnesia, bitter Auror Harry Potter must confront the shadows of their shared past to shed light on a potentially deadly mystery.

Transfigurations by Resonant (E, 71k)

Five years after Voldemort's defeat, Harry returns to England to help re-open Hogwarts.

[nocturniashifter]

𝓦hat is your friendships like in your dr? | pick a pile

Hello, my angels! After a long time without posting any PAP, here I am. I really hope you like it and that it resonates with you ;) ♡

┈─★ Disclaimer: This reading is for entertainment purposes only and shouldn't be taken seriously or used as a substitute for medical and professional advice. It's also a general reading, so it may or may not resonate with you.

┈─★ How to choose: Close your eyes, take a deep breath and choose the image that catches your attention the most – trust your intuition.

MASTERLIST | PAID READINGS

── .✦ PILE 1

Shufflemancy: Hippies - flipturn, Picture Frames - rei brown, Knight - Maddox, I Love You But I Need Another Year - Liza Anne, Persephone - The Tragic Thrills.

It's funny because from the first moment you started your friendship, you and your friends are “the weird ones” together – you might have a more alternative style or you just don't fit into the boxes that society tries to put you in/don't follow the expectations that society imposes on you.

In your friendship, you accept and love each other exactly as you are and since there is no judgement, you can let your weirder sides out because there is this safe space in your relationship lol. But although you may be judged as “the weird one” by other people or even by yourself jokingly, your friendship is very beautiful!

You really are there for each other whenever one of you needs. If one of you is going through dark periods in life, the other will not abandon you in those difficult times and will reach out to help as much as they can – you are like each other's knights in armor. I say this not only metaphorically, but for those who are shifting into a DR that involves a lot of action and is more dangerous, your friends will really be there to protect you because they want to keep you safe. They would even risk their lives for you if necessary – and they wouldn't do that for just anyone but you. It's so cute, you are always in their hearts 😔💗

You and your friends really love each other. But, one of you is facing mental health problems – you may not even have a diagnosis yet because this person is avoiding therapy, if it's you go now or I'll pull your foot when you're sleeping 🤨 – and you don't want to become a burden to the other person in friendship.

Because of this, this person who is facing this problem may end up distancing themselves from other people because they don't want to drag them into this situation even if all they want is for someone to be present in their life supporting them during this difficult time. Be there for that person just like they were there for you when the world was falling apart.

Demonstrate through words and actions that you care about that person's well-being and encourage them to seek profissional help because it will be beneficial for them - and if you are the one going through this, be there for yourself, take care of yourself and, above all, seek professional help. Know that, regardless of what happens, your friends love you very much and will always be here for you – when the world is falling apart or when everything is fine.

── .✦ PILE 2

Shufflemancy: Five Foot Tree - Flannel Graph, She Sings in the Morning - Pierce The Veil, The Fall - half•alive, What the Heck - Tried to run away, Ultimately - khai dreams.

Your friendship is so beautiful, pile 2! Your friends love you so much that if they could, they would take away all the suffering you have and leave you with only the best that life has to offer.

Your friends may think that they don't have many material things to offer you, but they give themselves completely to you and hope that that is enough.

In your friendship, your friends are not the type of people who tell you what you want to hear – no, on the contrary, they tell you what you need and often give you reality checks or make you wake up/open your eyes for a certain situation that you weren't seeing things right or lying to yourself, but they do it for your good.

Due to negative experiences in previous relationships – whether platonic or romantic – you or your friends have developed trust issues and therefore do not feel safe opening their hearts and being vulnerable with other people for fear of being stabbed in the back like It's happened other times. But, it seems that little by little you or your friends are learning to open your hearts, to share your thoughts and ideas and to trust each other despite the fears and insecurities you feel and that is very good.

You're the kind of friends who can talk about literally any topic or sometimes just make small talk – one moment you can be talking about the silliest, most idiotic things, making jokes, and the next moment you're having deep conversations about serious and important topics.

You and your friends are learning and growing together over time and through your experiences. You love and accept each other exactly as you are – including all your flaws. When you make a mistake, you admit it and always do your best to keep your friendship working. You support each other, care for each other, respect each other and generally bring out the best versions of each other. This is very beautiful, pile 2!

── .✦ PILE 3

Shufflemancy: Corpses - Saint Sisters, Cocoa Hooves - Glass Animal, To Love Someone Else - Avery Lynch, Tesselation - Mild High Club, new skin - VÉRITE.

You and your friends have more than just a friendship. Your friendship goes far beyond that: you are each other's family and you are truly there for each other in the worst and best moments you face in your lives.

Your friendship is so strong that you will spend your entire life by each other's side and will remain friends until old age. You've been through a lot together and will continue to be by each other's side whenever one of you needs it, until death.

Just like in pile 2, you or your friends have difficulty opening up due to negative experiences in previous relationships – be it trust issues, fear of judgement, fear of rejection or their own insecurities – and may end up trying hide parts of yourself. But all this effort to try to hide who you really are is in vain, because your friends can clearly see through you.

As I mentioned earlier, your bond is so strong that your friendship will last until old age and your friends know you better than you know yourself, so there is no need to try to be someone you are not because they love you exactly as you are. It is. Your friends really love you and you make them feel great, so stop thinking you're not enough.

For some of you reading this pile, one of these friends is your s/o and they really love you but they need to keep it a secret because they don't know if you reciprocate their romantic feelings and they're afraid of rejection or ruining their friendship with you.

Although you and your friends have many things in common, you are still completely different people who share world views that are not the same as the other person – and in your friendship this is not a problem, on the contrary, you end up learning a lot with the other person, gaining new perspectives and experiences. You take yourself out of your comfort zone and, thanks to you, your friends feel like they are different people than they were before and even better.

That was all, everyone! I hope y'all liked it. Until the next PAP! ♡

© nocturniashifter – don't copy, redistribute or edit my content | dividers

[lovverletters]

Yandere! Male Lead

Note that this is a reupload from my previous blog @hyerinrose

A/N : this took so many hours to finish Aghhh. Reblogs, notes and Feedback are appreciated!

T/W : death, yandere behaviour, etc

•┈••✦ 🎀✦••┈•💌•┈••✦ 🎀 ✦••┈•

💌 You woke up in an unfamiliar place. It wasn't the bedroom of your friend whom you had fell asleep in. The only memory you had of last night was falling asleep next to your friend's laptop while they were playing the new visual novel 'Flightless Dove'.

🎀 You couldn't have possibly experiencing those 'transmigration' thing in one of those isekai manwha/manga! Those aren't real! At least that's what you thought..

💌 Looking at the full body mirror across from the bed, you let out a sigh of relief. You still have your own features and body. However the picture frames on the bedside table reveals your identity in this new world you have been thrown into,

(Name) (Last Name), best friend of the protagonist and the heir to (Last Name) Corporation.

🎀 With this information, you recount that despite them being a side character, their story is unnecessarily tragic.

You were determined to change their fate.

Routes under the cut!

💌 Choose your route :

🍓The Fiancé 🍓

❣️Yandere! Fiancé whom you were incredibly wary of when you first met him. He was a terrible partner towards the original host, neglectful and rude towards them. Later, falling in love with Celine, the female lead and killing them to be with her.

❣️Yandere! Fiancé who you approached with caution, intending to be acquainted with him in order to hopefully guide him into becoming a normal human being. He was distant and closed off at first, shooing you off but eventually somewhat enjoys your presence.

❣️Yandere! Fiancé who finally begun opening up to you, sharing his troubles and worries with you, how angry he was at his parents for setting up this engagement without his knowledge. It's almost as if the two of you were actually lovers :)

❣️Yandere! Fiancé who falls in love with you, hard. The previous cold hearted man now replaced with a lovesick puppy who follows you around at any chance given. Always gifting you things he came across while on a business trips as a show of his affection. It's to also serve as his claim over you, that you belong to him, that you are his fiancé.

❣️Yandere! Fiancé who completely ignores the female lead numerous attempts at mingling with him. He's a faithful man, he had promised himself to you, so why should he tolerate this woman's presence any longer? Should he just kill her already? She's pissing him off greatly.

❣️Yandere! Fiancé who were envious of your friends, he wanted to be the only one you look at, the only one who you'd smile at and laugh with. Why are you giving away what's rightfully his to nobodies??

❣️"Promise me you'll never leave me, cause if you do, I wouldn't know what I'd do.."

•┈••✦ 🎀✦••┈•💌•┈••✦ 🎀 ✦••┈•

🍒The Childhood Friend🍒

❣️Yandere! Childhood Friend who's the only person you liked in the game as he's only one who stuck by the original host's side through thick and thin. Even attempting to avenge them after their death.

❣️Yandere! Childhood Friend who were surprised by your attitude towards him- not that he was against it- you were more animated and affectionate with him, it made his heart flutters everytime you complimented or gave him a hug. Have you finally reciprocate his feelings for you?

❣️Yandere! Childhood Friend who were in love with you ever since the two of you were kids. He was a loner that nobody wanted to befriend until you came along, suddenly there was a crowd of kids wanting to be friends with him. They don't matter to him though, in his eyes, you're the only friend he needed.

❣️Yandere! Childhood Friend who were incredibly jealous and resentful towards your fiancé! He was such a lucky man to be engage to you yet stupid enough to not see your worth. Can't he sees how beautiful and intelligent you are? How amazing you are compare to him??

❣️Yandere! Childhood Friend who were aware that he wasn't your only admirer. While he had been successful in scaring away your other suitors, the protagonist and even your fiancé weren't as easy. They too share the same strong feelings he have for you. And they weren't going to back down anytime soon.

❣️Though just like them, he too wouldn't be giving up on you. He was tired of seeing you with someone who's undeserving of you, who doesn't know how to treat you right.

❣️"You're the sunshine to my lonely self you know that, (Name)? I love you :)"

•┈••✦ 🎀✦••┈•💌•┈••✦ 🎀 ✦••┈•

⚘️The Protagonist⚘️

❣️Yandere! Protagonist who were the original host's best friend besides their childhood friend. He was your stereotypical main character, he was charming, attractive and powerful. Despite that, he still stuck around them until Celine came along.

❣️Yandere! Protagonist who you were determined to keep as an ally. After all the downfall of the original (Name) was because of a falling out between them and the protagonist. By having him as your friend, your chances of surviving this mad world is increased!

❣️Yandere! Protagonist who just like your childhood friend was surprised at your change of attitude towards him. He was used to your stoic and closed off self but was happy with your positive changes!

❣️Yandere! Protagonist who's feelings for you grow rapidly as days went by. He can't put a finger to what exactly it was about you that pulled him in. Was it your infectious laughter? Or your odd sense of humour that he can't help but adore you for? Your intelligence that never fails to amaze him?

❣️Yandere! Protagonist who were absolutely smitten by you that he ignores practically everyone including the female lead whom he's supposed to fall in love with. Nobody else is as important as you are to him. So why should he bother be around them when he can be with you instead? :)

❣️Yandere! Protagonist who despite his reputation as being kind and charming to others, would not hesitate to murder for you. Though he hasn't committed any, he is guilty of sending threats towards your other admirers. Unfortunately, your fiancé and childhood friend aren't as easy to rid of unlike like your other suitors.

❣️Too bad for them, he's not one to give up once he sets his eyes on something. He'll do whatever it takes if it meant that you'll be in his arms at the end of the day.

❣️"(Name), I hope you know how important you are to me. I love you now and forever"

•┈••✦ 🎀✦••┈•💌•┈••✦ 🎀 ✦••┈•

Part 2 coming soon?

[grnpurplgrmln]

with this new version of bluza that we got, i feel like i have to talk about the lyric "da se nagledam lepote te" (and also maybe the entirety of the last verse bc it drives me crazy)

for starters, it is such a romantic lyric i CANNOT get over it

no english translation can do it justice, the closest i can think of off the top of my head is "so i can soak up that beauty", but even that's not quite right

nagledati is a very specific type of verb (idk what the actual name for it would be cause i don't think it's a svršeni verb?? could be wrong idk grammar was never my strong suit)

it comes from the verb gledati (to look) and the prefix na-

the prefix na- gives it a sort of full quality. najesti (na- + jesti (to eat)) would mean that you've eaten so much that you're now full and can't eat anymore. nahodati (na- + hodati (to walk)) would mean that you've walked so much that you're now tired and can't walk anymore etc etc.

now, nagledati, in the context of looking at the person you're in love with, specifically their beauty AND the additional context that you're going to have to be away from them, for an undetermined amount of time?

looking at your lover so closely and so focused, so you can remember their every wrinkle, every blemish, every freckle, every twinkle in their eyes as they stare at you with the same love you feel for them, just in case you start to miss them, because you know you will, your heart would never let you fool yourself into thinking otherwise?

devastating, i want more of it

as i've stated earlier, this whole ending verse just trips me up so bad, in the best way possible

"ne palite još svetla" "don't turn on the lights yet"

"još samo jedan tren" "just one more moment"

"da se nagledam lepote te" "so i can really take in that beauty"

"ne palite još svetla" "don't turn on the lights yet"

"ne prizivajte dan" "don't summon the day"

"spasite me, smislite neki plan" "save me, think up some plan"

"ako svane sunce" "if the sun rises"

"ostat ću sam" "i'll be left alone"

it's so tragically romantic that it makes my heart break.

one thing i noticed here though, are the lyrics "ne palite još svetla" and "spasite me, smislite neki plan" mostly because they're in plural

now, i think it's probably just because that's the closest serbian has to gender neutral pronouns*, but i also think it's interesting to think of bojan, as the "protagonist" of the song, pleading the world to stop so he could get more time with his lover, a moment of selfishness

and the way the rest of the song sets up this almost domestic feeling "soba nam je mala"/"our room is small", which could also be translated to "the room is too small for us" as in "this room is far too small for our love, to handle us"

and i just... how can you not love this song...

additional notes:

* i'm an idiot, i just remembered that singular imperative exists and is also gender neutral so the lyric could have been "spasi me, smisli neki plan" but it's not so the whole protagonist talking to the world stuff might have been the intended purpose

[pineapple-split]

Ok ALSO (and then I promise I’ll shut up and dive in to the celebratory rewatch): EVEN IF IT WERE TRUE that Black Sails only has queer subtext (and let me make it clear, it absolutely is not true) that still doesn’t invalidate it as a piece of media?? The queer characters aren’t the only reason we love this show. We love this show because it’s beautiful.

It’s heart-wrenching. It dares to ask the questions “what if your civilized society isn’t all that civilized? Who does it leave behind? Whose blood is it built on? What lengths will people go to and what will they sacrifice for even the tiniest bit of agency and freedom in a world that is actively trying to kill them? Are they justified? Can you even make that judgment call?”

It’s a story about storytelling. It has narratives within narratives and foils and tragic flaws and parallels and overarching themes that begin in the very first moments in episode one and last all the way to the end. It’s a Greek tragedy put to the screen. It’s still so hopeful somehow, even when so many things fall apart. It’s the epitome of “the love may not have been enough but it’s important that it was there.” The writing is wonderful (mostly, I have a few hangups but that’s not important here), the cinematography and score is almost reverent. People who worked on this show still gush 10 years later about how it was their masterpiece.

Those headlines of “the best show nobody watched”? There’s a reason for that. Those of us who love Black Sails love it passionately, and the complex and wonderful queerness of it is only one of the reasons.