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linkspooky · 4 months ago

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TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

#mha 428 #mha spoilers #mha 428 spoilers #mha meta #mha critical #uraraka ochako #uraraka #toga himiko #toga #togachako #faith #buffy summers #faith lehane #fuffy

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obsessedwrhys · 6 months ago

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ᶻ 𝗓 𐰁 .ᐟ Bi-Han with a Sun Goddess!Reader

ᯓ★ fluff, angst at the end, reader is fem!!

Boy oh boy were you two an unexpected match. One was full of grace while the other's full of temper.

Though, despite your differences, your relationship was surprisingly well.

How he fell for you was a story itself, it all started when you had offered to help Liu Kang and his friends to fight against Shang Tsung. When you were given a place to stay at the Lin Kuei's headquarters, that's how you met the man.

He was the first to introduce himself but from his tone you could tell he was forced to offer the hospitality towards you.

During the wait for Liu Kang's orders, you explored the place and had stumble upon Bi-Han when he was training his men. You were bored so you decided to join.

From there was how you slowly started to know him.

Starting by having a friendly duel to having brunch at the garden. He was surprisingly not as scary as he appears to be.

It was probably your patience and elegance that made him fall hard for you.

He can't explain it but there was this aura about you that just seemed to be drawing him in.

So when he confessed to you after he had invited you over for a formal dinner. That was when things took a huge turn.

When everyone found out you two were together, it blew nearly everyone's mind, especially Johnny's. Like how did that happen?

"What do you even see in him?"

"He makes me laugh"

P.S, Bi-Han hates how you and Johnny are very buddy with each other.

There was this one time Johnny had bought you an attire from his earth and had intended to bring you as a plus one to his movie premiere but obviously Bi-Han was quick to snatch you away.

Just imagine him dragging you gently by the waist while looking over his shoulder to glare at Johnny. You on the other hand was unaware of his jealousy since you were confused why he needed your help on watering the pond (?)

Honestly Bi-Han wouldn't be too showy with affection. Sure he loves you, but he also loves his image. Though if you were ever to initiate PDA, he'd be fine with small things like kisses and hugs. Just don't embarrass him in front of his men. He won't be ever live it down.

Did I mention how soft he gets behind closed doors?

Once it's just you two he can finally drop his cold demeanor.

100% canon he's a small spoon type of guy.

Like just run your hands through his loose hair and massage his scalp. HE.WILL.MELT!!!

He'd definitely talk in a whisper tone to you when you guys are cuddling. Not to mention he always have this soft smile on his face.

"I missed you the entire day..."

"Hm... Your hair looks cute when it's messy..."

"Stop... don't look at me like that... quit pouting..."

He also enjoys taking baths together. Nothing extreme of course. He just enjoys the feel of your skin 'cause it helps him to relax.

He calls you sunshine. I wonder why 🤔

Jokes aside, he also calls you other cliché things like baby and love.

Another funny thing, he enjoys it when you choose to mess with him. He doesn't get mad but instead finds your attempts intriguing.

An example of a scenario was when you had decided to put makeup on him. Your excuse being that you wanted to try a new type of style but he knew those were just white lies.

Once you were done, you just couldn't control your laughter. He doesn't even crack a smile but just stares at you with a blank expression before turning to see his reflection on the mirror.

Did you just put clown makeup on him? He sighs but secretly inside, he finds your laughter quite contagious. It takes all his strength not to smile.

"You are an adult yet you behave like a child"

"PAAHAHAHA I AM—NOT— NOT A CHILD!!" You'd struggle to say through your laughter as he turns to stare at you once again with a unimpressed look, the clown makeup still on him making it even more funny to you.

OKAY NOW HEAR ME OUT. He definitely gives you compliments buuuut since he's too embarrassed to just say it outright, he likes to say it in his native language. He's just more comfortable in his mother tongue.

Just imagine him caressing your cheek as he admires you. Nothing but love in his gaze. It was like you were the single most beautiful thing in this world to him.

"你到底知道你有多可愛嗎? (Do you even understand/know how cute you are?)" He'd say in a breathy tone as though your beauty took his breath away.

Now to your powers, when he first saw you in action, it left him astonished. A sun goddess? Just when he thought he had seen it all... you never cease to surprise him.

That's why it comes naturally that he would challenge you in a friendly battle which you accepted without hesitation.

It was definitely a massive fight, even some of his men were rounding around or peeking from nearby to get a glimpse of the fight.

You were fast yet so smart with your moves. He had to admit that it had him captivated. Sadly the fight ended in a tie since Scorpion had to come in to stop it when things were beginning to get out of hand.

Without realising, you guys had accidentally damage some of the furniture and such. Ever since then, Bi-Han has been looking forward to competing against you again.

After that you were also considered his equal which is already an achievement itself.

Rarely anyone gets that high of a praise.

When in a relationship, his curiosity would peak and he would ask questions about your powers and your backstory.

While telling him your family reputation and the origin of where you got your abilities, he would be listening closely.

You taught yourself how to control and enhance your skills? He likes you even more.

You have daddy issues? Say less.

Whatever it is, he'll just listen to you with his brows slightly raised as you have his complete interest.

Since you're the only one he feels like he can share his problems to, he would definitely share his frustration concerning his father's beliefs about the Lin Kuei.

You would try to help him through it but even with your endless love and care. His betrayal would be inevitable.

When you learned of his betrayal through his brothers, it left you completely shattered.

How could he do this?

Did he not even consider the harm he could do when he did that?

Did you never cross his mind?

All of these thoughts haunted you.

And so did his consequences did to him.

His thirst for power and control consumed him to the fact that he had failed to realise he had lost you in the process.

Countless nights of staring at the wall as he loses sleep...

Until one day he decided to go and set out to find you. When he did, he hid himself in the shadows while watching you pack your stuff.

You were leaving to Japan with his brothers.

The dark circles around your eyes and the glow you always had on you was gone.

His actions had entirely ruined you...

Once he was sure it was just you and nobody else, he would step out of the bushes and choose to approach you. A dumb but desperate move.

The second your eyes settled on him. There was no warmth... but rage in your eyes.

Without a second thought you would initiate a fight against the man who was once your lover.

Due to your still aching heart, you would fight with tears in your eyes as your emotions got the better of you, something Bi-Han easily caught notice of.

After exchanging blows and countering them, Bi-Han would manage to hold you in his embrace which you struggled against but soon you would give in to the warmth of his body. The feeling you've longed for ever since he was gone.

"Please... don't leave..." He'd plea, afraid that he might never see you again.

"I never left... you did..." You'd say, then gently removing his arms around you which he let's you without resisting.

"You left me... like I was nothing to you..." You looked at him, staring at the way his face was unreadable but you could see the glimpse of hopeless in his eyes.

"I'm just glad this time I get to say goodbye" You'd then reach out to hold the side of his face... before turning to leave with your belongings.

He doesn't stop nor chases after you but rather just stands there and watch as you go.

The heartbreaking realisation that he was no longer the reason for you to stay.. but to run away.

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chemblrish · 4 months ago

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Chemistry video recs!!

Okay so here's a new ~project~ of mine (we'll see how long I can stick to it whoops): every once in a while I want to make a compilation of cool chemistry videos. I also want to keep it strictly chemistry-related (as much as that's possible... and I don't promise to be totally objective lol*). I watch a lot of science videos in general, but the way I see it, chemistry just doesn't get enough hype. Physics and biology can fend for themselves, they're very popular. Chemistry is notoriously underappreciated and overlooked, and it makes me sad.

So! Here are some great chemistry videos I've watched recently.

Under 15 minutes:

How does evaporation REALLY work?

Making Singlet Oxygen

Technetium chemistry - synthesis of Lanthanide Pertechnetates - nuclear chemistry

Making table salt using sodium metal and chlorine gas

Making Chloroform

White Phosphorus - Explosions&Fire

Making fuming nitric acid

The End of Haber Bosch

NCl3: a terrifying yellow abomination

Making Prussian Blue

The experiment that revealed the atomic world: Brownian Motion

Chirality is Just Turtles All the Way Down

Over 15 minutes:

Chemist Breaks Down 22 Chemistry Scenes From Movies & TV

Hydrogen Peroxide: going all the way

Does cyanide actually smell like almonds?

Cosmic Chemistry with Kate the Chemist & Neil deGrasse Tyson

The Hidden Chemistry of Everything with Neil deGrasse Tyson and Kate the Chemist

How DO Molecules Store Energy?

applied quantum mechanics

A Chemist Explains the ENTIRE History of Atomic Theory (in 48 Minutes)

*for example, I consider some of thermodynamics to be chemistry-related, as well as some aspects of quantum mechanics. When I say I don't promise to objective, I mean I'll make rather liberal decisions on the intersection of sciences. And you can't stop me.

#hopefully all the links work 🙄#mine #op #studyblr #chemblr #stemblr #chemistry #sciblr

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lockheed-martin-unofficial · 2 months ago

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Thinking about Altmodes.

The fact that cybertronians even have the ability to “scan” vehicles (created by other alien species) tells me that they’ve always not only been aware of other intelligent species, but also possibly interacted with them. They were designed to interact with them that way, assuming scanning was an ability Primus gave them and not an extra gadget they added into their frames afterwards (Which is also an interesting concept) But maybe that interaction only went one way.

Taking the catchphrase Robots In Disguise™️ seriously, it is easy to imagine cybertronians being a horror story for other species. Aliens that hide in plain sight, lying in wait. Indistinguishable from the very vehicles you use to travel around. Would you trust your car, be sure it wasn’t replaced? Cybertronians would be TERRIFYING if they wanted to conquer your planet from the shadows.

On another note, I like to imagine there’s More Than Meets The Eye™️ to scanning altmodes. It’s not just to hide. Take TFP for an example. Neither Airachnid nor Dreadwing/Skyquake transformed before scanning an altmode even though they were in situations where doing so would have greatly helped them. This was probably an animation thing, the people making the show not having the time and budget to design two seperate altmodes for the characters.

However, if we read into it, I think it’d make sense that the true reason they scan earth-based altmodes is that their cybertronian altmodes are not fully compatible with earth. Or at least they don’t know how compatible they would be so instead of risking they wait to scan an earth-based form. Especially when it comes to flyers. The atmosphere, the gases in it, the gravity, all work a whole lot differently on other planets. It’s more advantageous to become something that was built to maneuver on this planet, than trying your chances with your cybertronian altmode and seeing how it fares in this unfamiliar environment, while also in the middle of a battle.

The Autobots specifically mention to Wheeljack and Smokescreen that they needed an earth-based altmode for disguise purposes, so we know they could have probably transformed this entire time but simply chose not to out of convenience.

They would probably not be able to go back to their earth-based altmodes again without scanning if they reverted to their cybertronian ones, which is why they don’t when they go to Cybertron. I also imagine the process of un-scanning an altmode (dunno what else to call that) would take a while, so if it ain’t broke don’t fix it.

In episode where Arcee and Jack go to Cybertron, she’s gonna come back in a few hours so why would she go through the trouble? In the movie, they don’t really have a reason/motivation to do so. The Autobots probably want a reminder of Earth, Decepticons like Shockwave and Megatron already have cybertronian altmodes. I don’t think we see Knockout transform but he’s always been very vocal about how pretty he is as a car so he probably kept his altmode as well.

That leaves only Starscream to be explained, and my personal headcanon is that he secretly grew to like human-made aircraft. Although it would’ve been cool to see him as a cybertronian jet in the movie, the movie scriptwriters didn’t really care about Starscream anyway.

In my AU the earthplane enjoyment is in part due to him bonding with Nicole and pitying all the trouble humans have to go through to achieve what comes to him naturally.

#transformers #transformers prime #tfp #cybertronian biology #transformers headcanons #tfp headcanons #altmodes #starscream #tfp starscream #but that’s just a theory #a transformers theory #there’s more than meets the eye #robots in disguise #I fuckin love the catchphrases

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talkingparrotkee · 11 months ago

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One thing I like about MCU Shuri and also think several people sorely get wrong is that she's the more cool-headed character. She is slower to shout, panic, and anger, being relatively more laidback. Shuri would rather wall up and bury herself in her lab (M'Baku confirms this at Ramonda's funeral, and we see her doing just that in the beginning) before lashing out.

Even Ryan described how T'Challa was more hotheaded to T'Chaka's diplomat, while Shuri was the more cool and laid back one to fiery Ramonda.

We see it in her clothing styles.

We see this in the way she initially approaches things. Two key instances:

The way she first responds and confronts Namor. Shuri is still on defense at the river, but she is less combative or reactive compared to Ramonda. Shuri more quietly assesses and responds to him. Compare this to Ramonda, who immediately fires back and disregards what he says without even checking if it could possibly be true, to which Shuri has to point out some truths by empirical evidence (i.e., Ramonda dismissed him saying only they had vibranium, Shuri gently nudges her, saying he's covered in it, so that cannot be the case). A similar thing happens when she is down in Talokan with Namor. Throughout it all, Shuri kept a leveled head and bit back her tongue to think of solutions, even when things started turning south. She knew how to shut up as well rather than argue him down more (something not many people know how to do).

The way Shuri tried to extract Riri compared to Okoye. For starters, Shuri did not break into bathrooms or bring spears in Riri's dorm - she blended in and used the door. She did not make threats and give an ultimatum either. Shuri just tried to explain the urgency to Riri and draw her out without the use of physical force.

We also see it in her reactions with other characters.

In the first movie, she tells T'Challa to "calm down" when he shouts at her to drive. We also see her not care to fight T'Challa for the mantle, even if it is her birthright (she just wanted to go home and get out of a particularly uncomfortable corset). Instead, she prefers to fight alongside and as support.

Black Panther: "The Black Panther lives. And when he fights for the fate of Wakanda, I will be right there beside him."

Black Panther 2: "I was not trying to save the mantle mother, I was trying to save my brother."

For another example regarding her interactions with characters from Wakanda Forever, Riri is consistently depicted to be the more anxious and is more inclined to lose composure. Shuri, even when she's stressed or overwhelmed too, is often the one to remain composed. Shuri attempts to calm Riri down so she doesn't have a panic attack. Shuri also didn't reply when Riri started snapping at her about the FBI, only calmly working about and mapping out an escape plan.

One last particular example is with Okoye. Shuri is less quick to be defensive or shout compared to Okoye. We see it in the way Okoye commanded her to get in the car, and rather than shout back, she simply uttered quietly, "Why are you shouting at me..." Shuri didn't reply to Riri snapping, but Okoye did not let anything slide, pointing the finger back to her. During this entire exchange, Shuri was quietly observing before cutting in, saying how they needed to work together to get out of their situation.

Black Panther Wakanda Forever was her later in-character out-of-character. In other words, that unrivaled anger and snapping you saw was never her baseline. She's not an angry or vengeful person. That was the point of Ramonda, "Show him who you are," when she was hesitating killing Namor.

It was the result of her character at a breaking point. Shuri was not coping properly and dealing with frustrations she couldn't see her way out of. Shuri was struggling with spirituality. She was trying to know if her family was truly still there. She was trying to find the reason behind her failure and loss. Shuri already began cracking since T'Chaka died (see: Wakanda Files). T'Challa's death just broke her, with her narrowly holding her pieces together.

#black panther #wakanda forever #princess shuri #bpwf #shuri black panther #shuri udaku #shuri #marvel #thinking about her #riri williams #okoye #mcu #character analysis #queen ramonda #Namor #letitia wright #she did a great job protraying this quality in Shuri #black women

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mellohd · 3 months ago

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EMH Marble Hornets AU!!

ok i know im not creative when it comes to aus but i thought itd be interesting to tell the story of MH through EMH’s story? IF YOU GUYS HAVE THOUGHTS OR QUESTIONS PLS LEAVE SOME IN MY INBOX!!! :-]( or even questions for the MH!EMH characters heh)1

Basically its just marble hornets told through EMH, for example instead of “tapes i found” story telling theyd open a youtube channel for tips and tricks on making your own movie while they make their own called Marble Hornets! EMH/MLA spoilersish up ahead

Heres the character correspondences:

Alex-> Jeff

Jay-> Vinnie

Tim-> Evan

Brian-> Michael!MLA

Jess-> Alex!EMH

Amy ->Jeffs GF(so sorry i forgot her name 😭)

“Masky”->Habit(which makes sense depending on the theories you go with for either series)

“Hoody”->Patrick (same as the last one)

Characters in cant figure out an association with:

Steph, Jess(Evans bestfriend) Shaun So they might just not have a place in this story idk

Since Mlanderson and EMH are in the same universe i thought id make Brian the Michael/Patrick of this story, except more involved. Instead of their being a shaun i think id like Brian to just go to MH crew, if ykwim. I did this cause the only other character i thought could fit Brian was Alex!EMH and I didnt like that.

My take on Masky is that hes just a more aware Tim, not a separate being (tho i do like to think of it that way for fun sometimes ha ha). Masky in my mind was in a battle against the operators control and was ultimately trying to help Jay. I think Masky would br Habit in this series cause of the theory that Habit is one of the first few iterations of Evan, thats why theyre similar and so compatible etc if you know the theory you know. That does mean that Tim isnt gonna act all ha ity, just more erratic i think, i havent gone tooooooo far into a characterization(or even a name) for Emh!MH Habit yet

“Hoody” I see as just brian and he was just disguising himself. in this au “Hoody” would be patrick. Let me explain,

Frim what i gathetef through my second watch of EMH and, my first of MLA , patrick is just Michael but remembers every single iteration, hes a similar being to Habit, thats why he has powers ig? Look i havent gotten too far into theories fir MLA the fandom is so dead i never see any 😭😭. I dont want to get to far into theories on other series anyways cause rhis is about my AU so ANYYYYWAYS i think brian would fit that its just brians story doesnt fit entirely with Michael, actually Tim would probably fit more now that i think about it. Oh god now im thinking of switching them again uhm wtv

I think the rest of the correspondences make sense if you think about it a bit. Jay as Vinnie makes sense to me because of boths compulsive need for answers even though its destructive to those around them. Jay wouldnt be as much as a villain in this like vinnie is (or maybe i havent decided muahaha). I also thought they fit cause they both do that weird thing where they constatly have to document everything.

I thought tim eould fit Evan just cause of the whole habit arc.

Alex as Jeff was more of a fill a role thing that eventually made sense to me. I did think of making him Evan and Tim Jeff, and im still thinking of doing this, but i thought the whole finding the gf arc would fit alex more. Alex would still be one of the villains i think. Like i said this would be marble hornets told through EMH lol. I might even switch it up and assign a habit type role to Alex instead and there be two patrick characters who knows!

As you can tell im still thinking this through so maybe mext post i make about this will be more solid. if youre interested to talk about this kore with me(obv my inbox) or i have a slenderverse discord i made with my friend heh tik tok smug emoji. come join if youre looking for more slenderverse friends(and if youre interested in darkharvest and mla especially cause i need more people to talk about that to 😭😭)

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liquidorcard · 23 days ago

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Okay, part two. Let's go girls, gays and theys, Papa Polarity ain't saved yet.

[Part 1] [Part3]

Lily Commits Elder Gay Mutant Abuse, feat. "Eldritch Lily" (Part 2)

Everything gets worse . . .

4:13: Lily mischaracterizes Charles Xavier, throws up a Martin Luthor King quote she either doesn't understand or didn't read carefully enough, going full whyte. (Never go full whyte.)

How much do I need to dignify this by explaining why this is fucking asinine? Charles is a pacifist for the most part. A recognized and respected form of activism and protest. Like, the least charitable interpretation of what Lily's trying to say here is that figures like Gahndi, Abbie Hoffman, and dear old MLK himself are posers complicit in the oppression two of them lost their fucking life to.

That quote is referring to white people passively complicit in racism that just want black people to shut the fuck up Lily-- not passive forms of activism.

You know, it's one thing to be profoundly fucking wrong about cartoons, it's an entirely different beast when you're profoundly wrong about shit like this. Absolutely fucking ghoulish.

It feels weird pivoting back to the costumed vigilantes with funky genes, but we gotta keep going. Ironically for how much Lily is focusing on the movies here-- one of my issues with the way Charles is portrayed is he keeps casually threatening people/doing shady shit and getting away with it. Makes you question why it's framed as okay when he does it and not when it's Erik. Charles isn't a saint, he shouldn't be portrayed as one, and there's a lot of thematic dissonance when the films feel the need to lampshade the shit he gets up to less he lose the moral high ground.

4:50: OH HERE WE GO.

5:00: Lily goes on a long rant about the "activists who GO TOO FAR" trope in media.

I technically agree with her, but I can tell by the examples she's giving that she's parroting things Hbomberguy said in his RWBY video, just in a less charitable tone. So, really I agree with Hbomberguy.

She's not wrong that the BoM and Magneto sometimes wanders into this territory (I mean, they were originally 'The Brotherhood of Evil Mutant' and all that) unfortunately, but she hasn't supported that position at all. I have to assume she's heard this brought up somewhere else, this isn't exactly a unique take by any means. I doubt she's actually familiar enough with the content to create an original cohesive argument.

Lily doesn't like moral ambiguity in her media. That would be fine if she wasn't this butthurt that other people feel very differently.

6:05: "And yes, you knew we were getting to it! [ . . .] Almost all of Legend of Korras main villians start at a good through line. But then some twist comes up that makes everything they said before completely pointless."

THESE TWO, "START AT A GOOD THROUGH LINE!?"

LILLLLLLLLYYYYYYYYYYYYYYYYYYYYAAAAAAAAAAAAAA

6:15: "Season one's Amon is a socialist activist who cares about the oppression of non-benders by benders-- until it turns out that he doesn't."

I know this is a popular interpretation of the equalitists, especially given that their name is 'the equalists,' but actually the show never gives us enough information about the sociopolitical dynamics of benders and non-benders to say for sure. I'm not going to get into it here, if you want my full breakdown and analysis on the social politics of Avatar, let me know. In summary, it's tempting to assume benders would be the dominant class as they have literal powers, but that's not really how systemic power works. There's conflicting inference on what the dynamics are, and it may be different depending on the nation. The equalists are schrodinger's activists. They could be the Black Panthers, they could be the Proud Boys. That is not me making a false equivalency between those two groups, it's just never established if their perceived systemic persecution is real or imagined.

This isn't really a criticism of Lily. That it is so ambiguous is a flaw in the show. The interpretation Amon is supposed to be a socialist is as valid as any. Well. . . It's an extremely reductive interpretation of a socialist, and I know Lily doesn't know what a socialist actually is, but I'm trying to be charitable when possible here.

I do LIKE Korra myself, to be clear. But, yeah. There's problems.

6:31: "Season four's Kuvira wants to stitch the Earth Kingdom back together but doesn't want to restore an oppressive monarchy like everyone else does. And then declares that she is the dictator of the Earth Kingdom."

Yeah, that is just a thing that has happened in history, Lily. When there's a power vacuum left by a sudden or violent upheaval of a tyrant, unfortunately often another tyrant at least attempts to take their place. This is one of the reasons why former colonies struggle to cultivate stability-- societies and communities can get fucked in the ass by this kind of shit. This isn't a pro-monarchy message Lily-- consider maybe trying to learn things now and again.

This is why people call you a fake leftist Lily. Doing (relatively) minor gestures of good will like handing out food for a short period then pulling the rug out from under the people once they're complicit is right out of the facist playbook. You are virtually doing the exact thing you accused Rebecca Sugar of, but for real.

You're being outfoxed by a kid's show again.

6:44: "Season two's Unalaq [you get the idea.]"

Lily is pro gentrification until you involve demon kites I guess. I'm confused why she thinks he ever had any good intentions, it's telegraphed immediately he's a bad dude. He's also by far the worst villain-- as in, the worst written.

7:10: "All of them go 'the status quo is bad therefore commence genocide' like they got their political theory from fucking Vaush."

By your line of thinking so did Firelord Sozin:

youtube

"I had my own vision for a brighter future . . ."

I don't like Vaush either, but-- this isn't even the pot calling the kettle black. This is the blackened grime on the pot calling the kettle black.

GOD THIS VIDEO IS SUPPOSED TO BE ABOUT MAGNETO. WE'VE BEEN TALKING ABOUT KORRA FOR ALMOST THIS WHOLE POST.

7:19: "The entire show you're watching Korra become a stooge for the status quo every single time. 'The problem isn't that the system is bad, it's that the wrong people are in charge.' And then they inevitably change the status like bringing democracy to the Earth Kingdom and you're left wondering-- wait, why wasn't the other person doing this!?"

I did not edit those two statements together. That is, in fact, Lily pointing out why her own arguments are stupid in the very next breath. Thanks for saving me the effort, I guess.

7:45: "Why weren't the characters you set up to do these things . . . Doing the things?!"

Because they weren't set up to do these things Lily. They're the antagonists. They ideologically were designed to be foils for Korra to overcome.

Korra's political messages aren't even that deep, and yet you're this incapable from telling even obvious totalitarian right-wing ideology and mild liberalism apart.

8:10: "It's so nakedly obvious how protective of the status quo these stories are."

This is, in a very abstract way, a valid criticism of Korra. This is a common problem in a lot of media, and Korra is far from the worst offender. I think it does breach past this to some extent, just not as much as I would have personally liked with all its seasons.

But make no mistake this is Lily again, taking something Lily has seen someone else say and putting that opinion through a blender.

Let's not beat around the bush here, Lily just wanted to bitch about Korra again. It's almost like she thinks if she repeats her idiotic media analysis enough, maybe THIS time people will realize how brilliant she is.

8:27: "A victim of abuse, torture or r@pe trying to kill her [only 'her,' huh?] abuser in vengeance is right to do so."

Okay, that's enough of this for now. Part 3 coming soon.

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fernsnailz · 1 year ago

Note

take this ask as a free ticket to freely hate on elemental (WE SUPPORT THE HATER GRIND WOOO)

ok so to preface. i have only seen elemental once. it was in theaters. i did NOT pay money to see it (my friend worked at the theater and we got in for free). we also saw it in 3D (would not recommend). i chugged a canned margarita beforehand (WOULD NOT RECOMMEND). i sobered up halfway through the movie and had a terrible time. needless to say i am not a fan of elemental (2023)

below is an edited version of the review/rant i sent to the group chat afterwards. BE WARNED IT'S REALLY LONG.

much later edit: personally i think i did a very bad job of critiquing this movie in this ask, and some of the opinions i expressed below are some pretty bad faith takes. i still think this movie is worthy of criticism, but not in this form and not from a guy who chugged a margarita before seeing it.

ok so the big point of discussion with elemental i've seen is usually around the allegory it uses to portray its themes of race, immigration, and prejudice. generally speaking, it's my opinion that trying to portray concepts of this weight and depth with an allegory or metaphor is already a terrible idea*. this isn't stuff that you can make simpler to understand by portraying minorities as fire people or predator animals or whatever great new idea disney is cooking up next, because this isn't stuff that can just be MADE simpler. if anything, allegory makes discussion about race more complicated because you have to explore why racism and prejudice, an inherently illogical belief, exists within said allegorical world. usually said fictional explanation just seems to justify prejudice - for example, the allegory in zootopia is straight up DANGEROUS to compare to real world racism because predators, aka zootopia's minorities, literally used to hunt and eat prey animals (the majority). with this in mind, elemental is already off to a bad start since disney has a bad history with allegories of this kind.

(*EDIT: this is gonna eat me alive if i don't clarify this because i realized too late that i spoke WAY too generally here. to clarify, i'm mostly talking about creating an entire allegorical world that lacks humans here - allegory can be a very powerful way to portray a human experience, and i don't want it to seem like i'm arguing that allegory and metaphor can't be used at all to create a powerful story about race and prejudice. for example, here's a short film that i really like called OverWeight. it's about losing one's culture and identity, and that theme is explored entirely through a bag of luggage. and it's really good! just want to clarify that i'm not advocating for only extreme realism and a lack of magic here, but instead against using huge, non-human allegorical worlds that replace these human experiences. thx bye)

thankfully, elemental never got as bad a zootopia in its portrayal of prejudice (at least in my opinion), but that's not saying much. it mostly just feels kinda confused - as far as i know, fire people are supposed to serve as a sort of "immigrant everyman" allegory which is. not how that works. immigrants of different races and ethnicities are going to have different struggles and experiences, and trying to boil everything down into four different elements that fit every kind of person under an allegorical umbrella is over complicating everything again through a veil of simplicity. it's almost like all of this would be fixed if they just told a story about real human people instead of turning them into water and fire people but i mean WHAT DO I FUCKING KNOW!!!!

oh also the worldbuilding of elemental is. kinda ass. to further explain: fire people are the only immigrant characters really explored in depth, and a good amount of the worldbuilding around them is actually pretty interesting. they have their own language that the characters speak every now and then, they have their own foods, customs, and culture that you can definitely tell a decent amount of thought was put into. which i liked! and then you learn that the country they come from is literally called Fire Land. just Fire Land. i doubled over when they said that because compared to everything else, it’s so out of left field and just. GAHH. it really reeks of "exec in the disney board room wanted to make part of the movie about prejudice easier to understand for The Kiddies" and i hate it. god.

this is consistent throughout the film, a lot of genuinely interesting worldbuilding is intermingled with surface level, bottom of the barrel ideas that just feel. so confusing. like a big theme the movie centers around is gentrification and how the city (called “Element City,” by the way (SCREAMS)) is not built with fire people in mind. i like this concept a lot and they show this in some interesting ways! a main conflict centers about how water is flooding ember's home, and there are multiple moments where high-action scenes are revolved around ember just navigating the city and trying to avoid water, something that most of the city’s residents wouldn’t have issue with. i thought that was really good! it was something that, surprisingly, was very relatable! and then the movie goes full zootopia and just like. has one of the characters call the fire girl a slur (the slur was “fireball”) which, reasonably makes ember mad, but then the character that did the slurring faces NO narrative repercussions for her actions because. ???????????????? i don't know??? you would think that a movie that turns issues of class and race into a fun cutesy little allegory would at least take the time to go "hey kids! let's not call minorities slurs" but instead the Slur Woman ends up helping ember and wade on their shitty little romantic sidequest and never once seems to express any remorse. cool! great!!!! WHO'S IDEA WAS THIS???????

by the way who fucking wrote this who put all these element puns in here. there are so many element puns in the movie i want to eat the writers of elemental. i’m mostly made of carbon but i do not walk around like “wow what a long workday we have fellow coworkers, i guess we have to CARBON diem, amirite?” please kill me

the varying quality in the worldbuilding and allegory of elemental just goes to show that this movie would have likely worked better if it focused on humans on earth rather than elements residing in a confusing elemental world - previous pixar works like bao and turning red show that pixar movies that focus on real experiences told from a human perspective with a magical realism twist can work really well! the allegory of elemental makes its characters and experiences feel distant, i spent more time trying to understand the world of the movie than the characters and their struggle. that could be a me problem, but the world was so goddamn broken in the first place that i felt like i COULDN’T focus on anything else. idk can we just tell like actual stories about actual marginalized people without turning them into The Trope of the Week i’m so tired

and by the way. i do not like the character designs in this movie one bit. ember looks like if you asked a middle schooler to design a fire woman. "ohhhhh we're pixar and we have to give all of our woman characters a pencil thin waist and big feminine eyes and skinny little legs" i want to explode.

ok we're getting into just batshit insane rant territory here now. so with that in mind I FUCKING HATE WADE. from the moment he appeared on that screen i knew i had it out for that motherfucker. the first thing he does is start crying over a situation that HE CAN SOLVE. he’s a city inspector that gets caught in the flood overtaking ember’s home, and the FIRST thing he does is start writing up violations he sees in the basement of ember’s family home. and then. he has the audacity to CRY ABOUT IT because it’s sooooooo tragic that her dad’s shop is going to be shut down because of HIM. the movie frames the water people as overly emotional because they cry alot (because they’re made out of water, of course!!! isn't that so funny!!!!!!!), but wade’s actions make it clear that those tears are FAKE because he does NOTHING to help ember in the first scene they meet. then, only after ember explains to him that there’s LITERALLY NO OTHER WAY her family can survive if the shop is shut down, does wade agree to help her out. kill me

oh btw wade being very emotional and crying a lot is NOT a bad thing and imo most modern stories need more emotional male characters. but. elemental treats wade's crying mostly as a running gag more than anything. which just kinda doubles around to being misogynistic again

wade continues to be a fucking nuisance to my psyche, even after leaving that theater. i did not enjoy the romance between ember and wade because i hated 50% of that duo. ember was ok i liked her enough bUT I WANTED TO KILL WADE. they try to spin him like “ohhhhh hes a little bit clumsy and goofy and a little bit dorky ahah don’t you like him?” as if that doesn’t describe most of the male love interests in every movie released after 1990. the two sit on a beach where ember is on the verge of a meltdown because they haven’t been able to save her dad’s shop, and one of the things wade says to comfort her is “i think you’re beautiful like this tho uwu” HUH????????? who tf is trying to make moves while someone is having an anxiety attack i SWEAR to god. i want to use wade as bong water i hate him so much

and then. ember gives him some glass that she sculpted to look like a flower she likes. it’s a nice sculpture. later in the movie, wade is like “hey ember i have something for you” and then just. gives her the sculpture back. and they treat it like he gave her a gift of his own like bro SHE gave that to YOU WHAT ARE YOU TALKING ABOUT????

the one act wade does for ember before the big climax revolves around taking her to see some underwater flowers - it’s a nice sequence, but it’s not a gift that’s exclusively from him. they have to get the cloud lady that called ember a slur to help make an underwater bubble to contain ember. fucking. come ONNNNN

wade dies in the climax of the movie. straight up he evaporates from heat and they’re like “awww he’s gone :(“ and they manage to bring him back but i really wish he stayed dead. would have been worth it if he died. but no. there's so. many weird little things in this movie that make my blood run a little too hot. can the genre of kindergarten racism movies please stop here. i am begging i can't do this again please

completely forgot to mention this at the beginning: my friends and i refer to elemental as "The Movie of All Time" because the concept of "element people" or general element-based characters is such a common story trope within young animators and storytellers (at least in our experiences). the number of pitches we've seen about "this character is made of water/has water abilities and this one's made of fire/has fire abilities and they need to find a way to work together/it's a love story!!!" is uncountable. we could not believe this movie was a real pixar production when it was first announced we thought it was a joke

in conclusion. i wish i had another canned margarita halfway through elemental. might have been bearable that way

#i. cannot stand this fucking movie dude.#like listen. support animation. support animators. im sure everyone worked really hard on this movie. BUT CAN WE NOT DO THIS AGAIN #fernasks

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writing-n-memes · 3 months ago

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A list of things I don’t like about the Percy Jackson show in no particular order because I’m a hater

- Sally talks back to Gabe. She’s supposed to be a silent rebel and book Sally would never jeopardize Percy’s safety because she’s angry with Gabe. Because I think the writers forgot, the WHOLE reason Gabe is there is because she is protecting Percy with his presence

- Annabeth is too stoic. Obviously, tv Annabeth has emotions and expresses them but it’s very limited in my opinion. Book Annabeth is emotional about everything. She is quick to anger, pride, sadness and to not show it because she’s ‘too smart for that’ is dumb. She’s 12 and emotions are normal

- Instead of Percy seeing the fates cut Luke’s string, it’s annabeth. Annabeth may be closer with Luke, but it should not be her to be aware of Luke’s fate. She’s too close to Luke to be analytical. Percy seeing it made him realize the prophecy is about Luke. Percy is the main character and should give Luke the knife. Also, Annabeth giving Luke the knife wouldn’t be nearly as meaningful because she’s always had faith he would turn around; even after he trapped her under the sky in titans curse. Percy trusted Luke to do the right thing at the exact right time

- Grover is a whole different character. The only example you need to know he’s not book Grover is tv Grover straight up lying/manipulating the god of war to his face. Book Grover is brave but not like that. He has too much respect and fear for the gods. Don’t get me wrong, I like tv Grover, he’s just not accurate to the book

- Misdirect of Clarisse being the lightning thief. What was even the point? Just seemed very random

-Fight scenes were lacking. I can’t entirely explain it, but I was bored for every one of them. Hate to bring the movies into this, but at least the movies had interesting fight scenes that had me on the edge of my seat

- Poseidon was basically a saint in the show, which is a big no no. I’m not saying he can’t be likeable, but Poseidon was NOT that nice. First of all, he wouldn’t go against Zeus like that. Not for Sally, and certainly not for Percy. He would do some minor rebelling, but he would not directly fight or disobey Zeus for either of them.

- Despite the last point, they showed too much of the Olympian’s bad sides. They absolutely would do all of this stuff in the show and more, but Percy shouldn’t be made aware of this yet. Percy knows the gods aren’t great in book 1, but he doesn’t quite know the extent until he finds out about the story of the oracle in book 5. This is why he’s more bitter in heroes of Olympus. He knows more about the god’s bad sides. If book 1 Percy knew/saw all the stuff about the tv show gods, then he probably would’ve led his own rebellion against the gods and Kronos.

- Gabe’s death? Come on. What happened to ‘If my life is going to mean anything, I have to live it myself’ (don’t know if that’s the exact quote). Sally deserved to kill Gabe. Percy could’ve done it, but Sally made the choice for it to be her. Ignoring the fact that Gabe wasn’t abusive, just a general jerk so he didn’t deserve to die, but also, the death being an accident felt easy. Sally killed her husband and she had zero remorse for it. She used his dead statue body to sell and use the money to go back to college and follow her dream of writing a book, while also meeting the real love of her life, Paul Blofis

- Kind of made this point already, but I’d like to specifically point out Athena being too cruel. Not to say she isn’t cruel, because she is. However, the show made it clear too early on. Annabeth is the favorite child up until mark of Athena, that’s why she’s so distraught over her hat losing its invisibility power. Annabeth always had Athena’s respect up until that point. Athena wants to protect Annabeth from Percy in the original series. She would not just try and kill her. At least, not in book 1

- Changing Medusa’s story. I understand to a degree why they did it. There’s been a lot of talk the past few years on social media about what Medusa’s story means to them. They did show Medusa as a victim, but immediately disregarded it because she uses it as an excuse to… kill children for no reason. Might as well have kept the original story in at that point. Not to mention Poseidon sucks, but only in this story, and he’s a saint for the rest of the show. Feels like that makes it worse

- Deadline didn’t matter. They miss it, but it doesn’t matter for no reason. Every book has a deadline, including in every spinoff so what’s going to happen with future seasons? Is the timeline going to be ignored because it was fine the first time? Or are they going to backtrack and say, ‘Ok, THIS time limit matters. Ignore the fact there was an exception the first time’

- Luke is too tamed. Too apologetic. He’s supposed to be angry. So sure he is right that nothing will stand in his way. Not any friend or family could talk him down at this point. We’re not supposed to sympathize with him. Not yet. He is the main villain at this point and there should be no sign of redemption yet. May’s story (his mom) happened way too soon. It was told in the last book for a reason. So Luke could gain sympathy and make Percy question his side; he does question it but doesn’t “trust” Luke until he gives him the knife 100-200 pages later.

- Annabeth was there for Luke’s betrayal. She should not be there because Annabeth is supposed to be a Luke defender for the whole series basically. ‘Luke was wrong, but he can change’ basically. I don’t know how she’s supposed to defend him when she experiences his betrayal firsthand instead of just hearing he betrayed everything she believes in. This is important because it’s the main conflict between Percy and annabeth through the series; Annabeth’s loyalty to Luke. Also, little side note: This is an example of tv Annabeth being too stoic. Book Annabeth would do what she’d have to in this situation, but she’d be a crying mess. Which is fine! Having emotions is normal!

- Dialogue is stiff. I don’t know why it is, but some things just don’t flow. Even direct quotes from the books doesn’t feel right sometimes. Maybe it’s because they rushed filming and should’ve done more takes to get it right? I don’t know. I don’t doubt the actors talents so I’m not blaming them. Walker Scobell did great in the Adam’s Project and he was only 12 I believe! He didn’t have a single line that felt stiff in that movie but his lines along with the other mains seemed a little off at times.

- Kind of goes along with last point; some dialogue is accurate to the characters, but not in the context it’s used in the show. Here’s an example that someone else pointed out and I agree with them completely. Percy’s line about Thalia having a pine cone’s fate is so out of character. Would Percy say that to Thalia in Titan’s curse? Probably. But would book 1 Percy insult and dishonor Thalia’s death after finding out she sacrificed herself for her friends? Absolutely not. Percy thought her story was brave and tragic. Percy would say that line in other cases, but he would not say it under those circumstance.

- Kind of the opposite of previous points, but why is Hades so nice?? They made him into a silly guy and play it off for laughs. It’s supposed to be a serious scene. There’s humor everywhere else in the series so use that humor somewhere else. Hades is angry because Percy ‘stole’ his helm and hates him for the rest of the series. How are they going to make this guy lock Percy up in the last Olympian and fight him? This is the guy Nico is scared of, which is why it was brave he stood up to him. This is the guy who told his son that he wished he died instead of his sister. Just doesn’t seem right

- They figure everything out too fast. They figured out who Medusa and Procrustes is right away. This series is kind of like an introduction to Greek mythology to kids who don’t know anything about it. It’s about learning, but also building up the tension. Knowing something is wrong, but not knowing what. I don’t care that they were all told Greek myths growing up and that 2 of them have been training for years. Learning something in the classroom doesn’t mean they will automatically know what to do in a real life scenario. Monsters are supposed to TRICK. That’s what happens in almost every book.

- Why were there four pearls only for them to lose one? When I first read the book, I didn’t think about them needing more than three so it felt super unnecessary

- I know I’m pointing out too much about each god that appears but I don’t care. Ares admitting he loves his family is soooo weird. Pretty sure he would take over and destroy most of them

- tv show watchers don’t know how close Luke and Annabeth are. Those two barely interact and they tell us a couple times they’re close from lines like ‘She’s like a sister’ and whatnot, but it doesn’t accurately portray the care they have for one another. It doesn’t help that Annabeth barely reacted to his betrayal in the show

#pjo show #pjo #pjo show crit #Percy Jackson show #percy jackson

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ecto42 · 10 months ago

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I think in D&D terms the typical assumption would be that a character with a chronic illness and/or chronic pain would have a low constitution score. The reality is a lot of people like myself would probably have constitution as our biggest stat because not only are we constantly staying up while fighting our bodies, we’re generally expected to ignore our own physical needs and wellbeing in exchange for being able to get things done. For example, I have been fully in the middle of a POTS episode and had to cook myself dinner, carry multiple loads of laundry up and down the stairs, etc. Like there’s such a real thing to Ashton Greymoore having chronic pain and yet their highest stat being Constitution.

I think something people are really good at acknowledging for Ashton as well as being apparent with Taliesin is that chronic illness generally means you’re stronger than people would assume, but you also blow through your resources faster and they can be just as counterproductive as they are helpful. It’s important to note that Taliesin struggles with chronic issues like hand tremors and has other chronically disabled friends like Dani Carr.

Like personally as an AMAB person with a condition that primarily hits AFAB people particularly hard, I’ve had cardiologists tell me “If anything your heart is overly muscular.” Which like, thanks dude yeah that’s decades of anxiety and years of POTS hitting and me having to stay standing up. Like I was in marching band in high school and I was the kid basically double-time marching in giant steps every show because I was the easiest to place since I’m so tall. Then when I worked fast food I had to either maneuver through hoardes of people to get back to my station or just push through them completely. In 90+ degree weather in the summer in Alabama with an anxiety disorder and a “heart condition” that’s actually just another neurological condition. Like I spent years doing manual labor and unloading trucks and pallets while exhausted on like 3 hours of sleep. You have to develop that kind of resilience when the capitalist system reinforces a world where no matter what if you want to survive as a person straddling the poverty line you have to work your ass off.

This doesn’t even get into the kind of resiliency you have to develop as an undiagnosed neurodivergent person who’s being told by absolutely everyone for most of your life that you’re doing everything wrong. Like Adaine from Dimension 20 is such a good example of that. This is also why I love the portrayal of Ayda Aguefort so much, because she really is like me having to learn everything from books because no one else in her life can explain things the same way that a book can. That is one of those things that as a late diagnosed autistic & ADHDer it’s really hard to explain personally without getting really like tragic or depressing in conversation because it sometimes is just a matter of “I’ve effectively been abused my entire life purely because the system wasn’t built for me and I had a lot of expectations I failed to live up to.”

All of this as a way to say that neurodiversity and disability are much more interesting and heroic feeling when they are portrayed by actually neurodiverse and disabled people, as well as those who love those people enough to tell stories that include them. I think TRRPGs and RPGs in general are a great way to explore this. Often times when we see disabled people in shows or movies that revolve around their disability there is a lack of agency, whereas often times with TTRPGs you have to create your own agency in the first place.

#critical role #dimension 20 #d&d #d&d 5e #brennan lee mulligan #dropout #ashton greymoore #adaine abernant #ayda aguefort #siobhan thompson #taliesin jaffe

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silantryoo · 2 years ago

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BONUS [ RP STONT ] — confessions of an idiot (irl)

miny/n's 100 day anniversary for their... 'relationship'.

WARNINGS ; low self-esteem, fluff, gay ppl being gay

y/n liked minji. a lot.

she liked the way her eyes turned into crescents when she smiled, and the way she whined whenever the older girl teased her too much. she liked the lingering smell of pine whenever the younger idol hugged her, or the way minji's arms felt like home.

but like many things, minji came with flaws. one of which being her choice in movies (if you could even call it a 'movie').

y/n cuddled into minji, rolling her eyes once the main lead of the 'kissing booth' entered the frame.

she could feel minji tense up against her, making the older girl frown. how was minji attracted to someone named 'noah'?

grumbling, y/n found herself pulling away from minji. "he's not even that cute."

"huh?" minji's head snapped towards her, trying to pull the other girl closer. truth be told, minji hadn't been focusing on the movie at all. her brain was scattered everywhere, going through all the things that danielle, haerin, and hanni had helped the older girl plan. "what are we talking about?"

y/n fought back a blush, resting her head onto minji's shoulder. "that noah guy."

"oh." minji looked at y/n, and she felt like she was gonna explode. "i guess so."

y/n hummed, focusing on the movie in front of her and minji wanted nothing more than to kiss the girl in front of her, watching as the light from the tv made the older girl's eyes sparkle. the younger girl felt herself smile. the idol didn't know how she managed to find y/n, but she couldn't help but thank the universe for leading her to the girl.

minji wondered if this was what love felt like.

"minji," y/n whispered, the credits rolling as the younger traced her side profile with her eyes. "can i tell you something?"

"yeah." minji said, her voice barely a whisper. "yeah, of course."

"you're a great person." y/n smiled at the girl, eyes full of warmth. "but that movie was ass."

minji leaned back, pouting slightly.

"it was not!"

y/n bit back a smile. she didn't understand how minji could be so adorable without trying.

"it was. the entire concept of the movie was unrealistic," y/n explained, choosing to ignore the way minji rolled her eyes (because why did y/n care about realism when one of her favorite movies were barbie and the nutcracker?) "and why would they ride a motorcycle out in the rain? why was that other guy–"

"his name was lee." minji grumbled, and y/n struggled to not kiss the idol right there.

"why was lee so possessive of her, anyways?"

minji squinted her eyes, not noticing the smile that y/n was giving her. "didn't you say kazuha-sunbaenim was possessive of you too?"

"i mean, yeah," y/n nodded, her cheeks hurting. "but she'd never prevent me from dating you."

minji's eyes widened. she swore her heart stopped beating at that very moment.

"...huh?"

"for example!" y/n rushed, not realizing her tongue has slipped. "i mean."

minji nodded, biting the side of her cheek. her heart was beating erratically, and she suddenly found herself relating to every love song that was ever made.

"you're lucky you're cute, kim minji." y/n whispered, the lights still dimmed from the movie. minji was sure she was going to explode any moment now. "why do you like it so much anyway?"

y/n watched as the younger girl looked around, almost as if she was looking for an excuse to avoid the question.

minji locked eyes with her, and the younger idol sighed.

"it, um..." minji could feel her cheeks burning red. "it reminds me of us."

y/n squinted. "like the main girl and the guy with the last name with the first name?"

minji shook her head. "i meant elle and noah."

"am i noah..?" y/n couldn't help but frown. "he's crazy and insane! is that how you see me?!"

y/n could feel a pit of guilt brewing in her stomach. from what she noticed, he was overbearing, sometimes even borderline scary. even though he had the right idea, it never made up for the fact that he scared y/n.

y/n didn't want to be like her dad.

"no! of course not!" minji shook her head, her eyes widening. "it's embarrassing."

"it can't be worse than being compared to that guy," y/n grumbled, minji wrapping her arm around her waist.

"they're like us." minji whispered, ignoring the glance that y/n sent her. "they kinda hated each other at first but he ends up making elle the happiest. he makes her comfortable, like nothing matters. that's how you make me feel."

the older girl looked at her, watching as minji waited for a response, eyes anticipating a response. if y/n didn't know any better, it was almost as if minji had confessed her undying love to her.

"oh." y/n pushed down a giggle. "okay."

"he's nice to look at, too." minji muttered, turning back to the tv as she searched for another movie to watch.

y/n rolled her eyes before looking back at the girl, a sly smile on her face.

"kim minji, are you saying i'm nice to look at?"

she was going to die today, and it would be y/n's fault.

"what?"

"oh my god, kim minji..." y/n couldn't stop herself from giggling, hitting minji's arm lightly. minji suddenly felt conscious about the space in between them. "if you wanted to ask me out, you should've just told me."

y/n knew that minji would only see her words as a joke, but she couldn't help but mean it. sometimes, like right now, y/n wished she would just tell minji, even if it meant ruining their friendship.

"unnie, please." minji struggled to get out, the words nearly getting caught in her throat.

"you're so cute." y/n sighed, resting her head on the taller girl's broad shoulders.

the two scrolled through multiple movies, sitting in silence and basking in the presence of each other.

y/n hummed, listening to minji as she muttered the synopsis of each movie they passed, and she was glad she was in the same universe as kim minji.

"did you like my gift?" y/n asked, minji's eyes furrowing as she quickly skipped the horror section.

"yeah." minji nodded, sighing as she put the remote down. "i should've gotten you something, too."

"it's okay." y/n shook her head. as long as minji was around, that would be enough for her. "i just wanted to get you something this time. you always take good care of me, even though i'm the older one."

"i like taking care of you." minji's hand flinched as she looked at y/n's hand near her thigh. "you deserve it."

"i believe you." y/n said truthfully, grabbing the younger girl's hand with a squeeze. "i like taking care of you, too."

minji looked y/n straight in the eyes. a million thoughts ran through the older idol's mind, every single one being about the girl in front of her.

kim minji was everything y/n had ever wanted, and y/n hoped that minji felt the same way about her.

"minji?"

y/n could feel her heart in her ears.

minji tilted her head. "yeah, unnie?"

the room filled with y/n's voice... coming from minji's phone,

the older girl glanced at the phone as minji scrambled to find it, cursing at herself for letting hanni touch it.

"is that..."

"no, it's not!"

minji was going to kill hanni the next time she saw her.

"that is my voice!" y/n sucked in her laughter. minji was clearly embarrassed, and the older girl didn't want to make her feel worse.

"wait," y/n paused, her voice in the background slightly distracting her. "are you getting me another cake?"

"what? no?" minji lied, her face stoic. y/n continued to stare at her. "okay, maybe. how'd you know?"

"you did it last time." y/n looked at the floor, minji's phone under the table. it wouldn't hurt to tease the younger girl a little more. "are you gonna turn my voice off or–"

minji groaned, shutting it off before standing up.

"i'll be right back."

"do you need help?" y/n asked, standing up with her.

"no!" minji panicked. she needed to revise what she was going to say in her head. "i'm okay!"

"are you sure?" y/n asked, her grin turning sinister. "i can always use my voice to–"

"unnie!" minji covered her face.

"sorry!" y/n giggled, sitting on the ground as she smiled at the taller girl. "you're so fun to tease, kim minji."

minji took a deep breath, and y/n couldn't help but feel bad. the younger girl was bright red. y/n was sure she was gonna die from overheating if she kept going.

"i'll be right back."

y/n nodded, watching as minji walked down the hall.

"don't make me wait too long, kim minji."

"i won't." minji smiled like it meant something more. "i promise."

minji entered her room, leaving the idol in the dark.

as she heard the door click, it took everything in y/n to not scream. her heart was about to burst, and it was minji's fault. y/n didn't understand how she could feel so intensely for someone she hated months before.

minji was someone she hated. she was someone who reminded y/n about her shortcomings. y/n was never pretty enough, never consistent enough. she was never minji. every time younger girl took a breath, it was a punch to her gut. she would never be someone like minji, and she used to hate it.

but she didn't need to be minji, she just needed to be herself and slowly, that was becoming enough for her.

(she had told chaewon the same thing earlier that day, and the older girl cried so hard that she had almost puked.)

she knew there was a chance that minji didn't like her. she was kim minji, after all. she deserved the world, and more. y/n knew she could give it to the girl if minji would let her, but sometimes it didn't work out that way.

y/n wanted nothing more than to love kim minji the way that she felt loved by her.

"god, i'm losing my mind." y/n whispered, staring at the moon through the curtain.

"unnie."

minji could feel her hands shaking under the cake as y/n turned around, the entire room dark except for the candles and the moonlight.

y/n smiled. "minji."

"happy 100th anniversary." the younger girl whispered, setting the cake down slowly. she could feel her nerves slowly starting to creep up. "sorry i took so long, i couldn't find the candles."

liar, minji thought to herself, you rehearsed in front of the mirror the entire time.

"don't worry." y/n looked at minji, and minji swore to herself that she wasn't going to back out now. "at least you're back."

"wait," y/n took a closer look at the desert in front of her. in the corner, two macaroons were stacked on top of each other, one a brown bear and the other a wide-eyed puppy. "is this supposed to be us?"

"yeah." minji could feel her chest swelling up in pride as she took a picture of y/n inspecting the cake. "sorry if it looks off. haerin tried to eat the one that looked like me."

"it's okay, i love it." y/n never felt more seen in her life. "it's perfect."

minji couldn't stop looking at y/n as took pictures of the cake, happiness radiating from her body. the younger girl smiled, moving to sit next to y/n.

"make a wish, unnie." minji whispered.

y/n turned her head. "do it with me."

"but it's your cake?"

"but it's our anniversary."

minji smiled, and she was sure that y/n could see right through her. "are you sure?"

"yeah." there weren't many moments in life when y/n was 100% confident in her decisions, but she's never been more sure until now. "i'm sure."

the room turned silent. both looked at the candles, reliving every single thing that lead up to this moment. minji could feel her stomach churning, the adrenaline rush making her sigh loudly.

i hope to make her this happy forever, the two thought.

closing their eyes, they prayed for their wishes to come true.

"happy anniversary, minji." y/n slowly opened her eyes, her eyes finding minji immediately, the moon framing the younger girl's face perfectly.

it was now or never.

"happy anniversary, unnie."

y/n bumped her arm as she leaned forward, squinting as she tried to find the mini-thems. "i wonder what the macaroons taste like."

"unnie."

y/n took a closer look. the bear had the same eyes as minji, and the dog had the same smile as her. "it looks like us!"

"unnie." minji tugged on y/n's arm.

y/n turned to sit back down, worry evident all over her face.

her eyebrows furrowed. "what's wron–"

"promise to not talk until i'm done?" minji breathed out. "please."

y/n nodded.

"okay."

"when i first met you, you were sitting next to yunjin-unnie." minji smiled at the ground, her hands fidgeting as she tried to calm herself down. "you were eating a sandwich, laughing at one of the stupid jokes she made. you were wearing sweats and an oversized shirt that looked like a souvenir from australia. i remember you looking over at me, and you smiled. you hated me after that class, and i didn't see you smile again."

y/n nodded, remembering that day clearly. before, she had considered it the day that her life was ruined. now, she couldn't help but thank hybe for leading her to minji.

"i would see you in the halls between practices, or out with the other trainees and i hated it." minji looked up, the words caught in her throat as y/n listened to every word the girl said. she cleared her throat. "i hated how you avoided me. i hated how you glared at me whenever i was near you.

"i think what i hated the most was that i couldn't make you smile again."

minji watched as y/n's eyes softened, and suddenly minji forgot all the words she had rehearsed a mere ten minutes ago.

but she couldn't stop now.

"i'm not good with words." minji shook her head, y/n nodding along with a teasing smile. "i'm not someone who knows what they're feeling in the moment, but i know that when you smile at me, or when you're near me, i feel..." minji felt love. she was sure of it. (but not now. not yet.) "and maybe you won't believe me, but i can feel it whenever i'm around you. unnie, you make me feel so many things that i don't even understand."

"i like you, unnie."

suddenly, it was as if the world became quiet.

y/n didn't know what to do. all she knew was minji was in front of her, her eyes sparkling like first day they met. the moon painted her face, and y/n was sure that she's never seen anything more beautiful than kim minji in that exact moment.

"please say something." minji muttered, y/n's eyes staring right at hers. "i feel like i'm about to die."

"are you done?"

y/n liked minji a lot. her bad movie taste, her over-the-top planning, the way she cared for her, the way she made her feel like she was enough.

"i think s–"

y/n leaned forward, her lips suddenly on minji's as her hand found its way to the side of the taller girl's neck. minji's eyes widened for a moment before her entire body relaxed.

the warmth of minji's lips made y/n smile against the girl's. kissing minji felt exactly how y/n felt around her.

minji was comfort in every single way.

y/n pulled back, her face flushed as minji blinked her eyes open, not a single thought behind the girl's eyes.

"you're so cute when you're nervous, kim minji." y/n whispered, stroking the side of minji's neck with her thumb. "i like you too. i'm sorry for hating you. i promise i'll smile for you more, okay?"

minji nodded lightly, before leaning in this time, wanting to taste y/n once more. y/n giggled at her eagerness, feeling minji's arm wrap around her waist.

y/n could get addicted to this.

pulling back slightly, her face still close to the other girl, y/n muttered against her mouth. "does this mean we're really dating?"

y/n felt minji tense up, her arms dropping from her sides.

"oh my god." minji covered her face, finally realizing what happened.

she had kissed kim y/n. no, kim y/n kissed her. kim y/n liked her back. the girl that was in front of her under the dim lights of her living room, face tinged red liked her back and kissed her. they were dating.

oh my god, minji touched her mouth, her eyes on y/n. oh my fucking god.

minji stood up stiffly.

"minji?"

"i'll be right back." minji managed to squeak out, her voice shaking and her face burning.

"minji, where are you going?" y/n watched as minji walked into the closest room, hearing a loud squeal after the door clicked shut.

y/n was losing her mind, but god, she liked kim minji so much.

masterlist | next

taglist (CLOSED)!!

@fav9yu @gojosrug @lizseos @captivq @invusblog @writingficsblog @wonyoluvr @limbforalimb @lethalvenus @archerheejin @bibrinastan @ahnneyong @theeyoon @phamminji @chaersly @misumiausworld @afiaaaa19 @yumtooki @oshyci @txtbrainrot @falling-intoo-deep @0310lvr @yizhoutv @rinpopz @serenitygrace24 @noiacha @marimo-anura @sserajeans @cfvgbhndun-new-blog @rd0265667 @li0ilthecxnt @dmndtears @rosiehrs @yeridaenggi @spritin @cecedrake2217 @meltingbluess @jeonsy98 @haerinstolemyhrt @ssambf @awkwardtoafault @babycubchae @perfectsunlight @forever-in-the-sky2

#kim minji x reader #minji x reader #newjeans x reader #new jeans x reader #le sserafim x reader #newjeans smau #smau #idol x reader

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goldsnek · 5 days ago

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So, I saw the question about tips for aspiring comic artists and it actually reminded me that I am curious about the topic as well😅

I like to write stories and I like to draw so it seemed logically for me to try my hand at comics as well but I'm struggling extremely with the layout.

It's seems very daunting when you sit in front of the empty page and you have to consider how to arrange the panels.

I'm the kind of artist that sometimes does big changes to almost finished works, so the idea of having to make a final decision before I even start with the actual drawing process, is kind of terrifying for me.

Long story short, how do you put your drawings into panels?

Do you really have to make a final panel layout at the beginning, the way I've been attempting to, or are there other possibilities I simply haven't thought of?

Last but not least, I want you to know that I absolutely love your comic, both because of your spectacular art and the amazing story! ❤️

Hello! Okay this is going to be long but I'll try my best to explain and be concise (and truly sorry for the english!) So, the first rule you need to have in mind is that you don't imagine the scene PER PAGE but PER SEQUENCE. What I mean is, you don't have to imagine a comic (like ''what I'm putting in this page'') but you have to imagine it as a video in your head, like you're directing a movie ( movies and comics are a lot more similar than we think as a media) For example, try to imagine someone waking up and going to open their window, that's a full sequence. it can be done in various ways, depending on what your character is doing and what's the ''mood'' of the scene. Remember always that your character emotions sets the mood for the entire scene. A thing that helps me a lot is ( like I said XD) watching movies, I focus on the mini sequences, a kiss scene, a fight, I pause the movie and rewatch that scenes various times, trying to understand the mood of the scene and how is shot. A sequence can even take 3 or 4 pages or even 10, it depends from whats happening, even more if it's a fight! But like I said the number of pages comes later. another importart thing to remember is that your characters needs ''a place to live'' If you make a story and never show a single panel with a background, the story is gonna lack something 100%; and I know... backgrounds are hard (I hate them) but you need at least 1 panel where you show the places your characters are living in. That is called establishing shot and it needs to be used when your character are moving to other locations. (or if you're talking about other characters in your comic and they are somewhere else) I'll show u some establishing shots now:

Took 3 different comics (narratively and stylistic speaking) Bone, Batman and TinTin to show you that even if the setting of the panels is extremely different, they still all have an establishing shot. Now, of course you don't have to put this in EVERY page, but like I said at least at the start of your comic, or when the characters are moving somewhere else, it's very important to show that. Also remember that the biggest panel you need to have in your sequence is the one where the most important action is happening. For example, if two people are fighting and someone gets slapped, that's the most impactful scene, so that's the scene that will need the biggest panel on your sequence, because it's the most important. Another rule is to make the camera breathe. Let me explain this properly, you, as a comic artist, are like a movie director with a camera. You need to turn the camera in various ways, up and down left and right, but always remember this : Never make a page of faces only. example, here are character A and B having a conversation, a page like this is extremely wrong, because the camera is basically attached to the character face and the viewer/reader is going to feel like they're suffocating in the room with the story characters :

You as an artist have the power to zoom the camera in and out, showing extremely tiny details or making a big panel that shows how Idk... beautiful or eerie or mysterious the background is. The biggest advice I can give you is to read a lot of comics, try to find series you love and study them, see how they make the panels, how the sequence are shown etc. The last rule (there are a lot more so if you have more specific questions just ask) I can give you and this is about your question in specific is that: Yes. Unfortunately you have to make the structure first and that has to be your final decision, if you make a 10 pages comic for example and you decide you don't like some stuff anymore and decide to change all the pages, you're just gonna end up in a endless cycle of always fixing and fixing and never be satisfied. Remeber this: The sketches and layout of the pages are the MOST important thing in a comic. The coloring, lineart, etc... it's just decoration. So hang on and start making layouts, and focus only on those for a period of time and then when you're 100% satisfied with the structure, you go and start adding the ''decorations'' Hope this helps! I'm not very good at explaining , especially in another language, but I tried my best XD

#askboxx #tutorials? kind of

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thebadboyfanclub · 2 years ago

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A Risk Taker (Daemon x Reader)

This is my first time writing something like this which was challenging but very entertaining, also I left a little detail that I really hope you enjoy, please let me know what you think by commenting. Enjoy!

“And right over here we have the iron throne, historians reported that it was created by hot steel and its rightful place was in what we now know as London, over here we have-“

(Y/n) stood dumbfounded at the sight of the throne in a result she tuned out what the woman was saying or explaining. She was in amazement at it, it was entirely made of swords, she came to wonder who came up with the idea of such a thing, who was the first to sit upon it, and who was the last. So many questions raced through her brain as she instinctively took a few steps to approach it.

(Y/n) was always interested in what historians call “the time of dragons” Some say it is just silly little stories or just tales of the church that wished to demonize the time before Christ.

“Miss you can’t touch that”

Before the security guard could stop her (y/n)s fingers grazed over the arm of the chair, goosebumps went over her entire body before she gripped it firmly and then everything went black.

“A witch! Protect the king! Disarm her”

“What?”

Before she could react or comprehend what was going on around her someone forced her hands behind her back earning a grunt from her.

“Ouch you asshole let me go”

“How dare you command anything you Bitch let go! I swear to god if I fucking bruise”

“Ser Criston, the lady is clearly in distress and pain, I believe it is best if you release her”

“Yeah that, manners much?”

Daemon had to refrain from laughing at her odd way of phrasing her thoughts. Everyone was on edge at someone that just simply appeared in front of the king and the iron throne just from thin air, her clothing was something no one had ever seen and her face was painted, Daemon carefully walked up the stairs who was rubbing her wrists to relieve herself from the discomfort.

“It is alright my lady, I am Prince Daemon of house Targaryen and you are?”

(Y/n) looked around the room, everyone was dressed in posh clothing that was decorating the museum hours ago and the man that was standing in front of her was the same person that she saw from the portrait when she walked in, also he resembled a lot the actor that played prince Philip at “the crown”.

“I… am (y/n) of house…. (Y/l/n) I guess”

“There is no such thing as house (y/l/n) she is lying, we must throw her in the dungeons”

“I fucking dare you”

“You will do no such thing Ser Criston, the lady isn’t dangerous, she is just as puzzled as we are, do you remember anything before this my lady?”

“I was visiting the Museum of Old England, I believe you guys call it Westeros”

“What was the year?”

“2023”

“So you mean to tell us all this just turns to…”

“History, books and movies”

“What are movies?”

“How do I explain, there is a machine that captures a scene like this for example and then it plays for an audience, like theatre but not really”

“The girl is in hysteria and probably lying, we cannot believe her words and prophecies stand true”

(Y/n) turned her head to eye the man that was talking, a man in his mid-40s she guessed that was dressed in all green and had a little pin with a golden hand, her eyes lit up at the realization of who this man was, and her mind could not comprehend what was going on yet she desperately wanted to prove herself she was being honest, probably because her life was at risk.

“Otto Hightower”

“How do you know my name?”

“Oh I know a lot about you, you served the king, and has the king already married your daughter Alicent? Or is Aemma still alive?”

Silence fell over everyone, and looks of concern were being exchanged amongst the people, the lady that spoke knew everything about everyone, there was no way she could create the clothing she was wearing or whatever was on her face, could it be that she was actually from the future?

Frantically (y/n) started to search in her pockets for anything until she thankfully found her phone, she held it up in triumph before she pressed the button to open her screen

“There, see! I have pictures of the stuff that you use! Here is a portrait of one of my favorites from your family, Rhaenyra”

“Me?”

(Y/n)s eyes laid upon the young Targaryen, god the casting of her movie did such a great job the actress looked like the girl that was standing in front of her. (Y/n) smiled brightly at the princess before she took an awkward bow to the princess making her stumble on her way up.

“Princess Rhaenyra, an Oh my gosh pleasure to meet you, huge fan by the way, have you married Laenor yet?”

“We are betrothed”

“Well that is surely something ummm, excuse my weird stance but I feel like I will piss on myself from anxiety”

“Mayhaps it would be best if the princess escorted the young lady to one of the chambers, and found something more appropriate for her to wear”

Daemon chimed in, to save the poor lady from embarrassing herself or worst passing out in front of them. (Y/n) who grew self-conscious of her looks rubbed the material of her jeans as she looked down at her outfit, it was pretty stylish for a museum who would have known to dress appropriately for teleporting?

“These are my nice jeans”

“Ladies wear this?”

“Yes Otto they do, ladies also have rights which is a concept you would surely hate”

(Y/n) could feel her heart beat fast at the realization that all eyes are on her, she was someone that no one could vouch for, a girl that just stood there with no background, no title, they could behead her before the sun goes down and then what? Is death the way to go back? Or would she just die and leave everything behind?

She turned to the king to approach him once again, she swallowed the lump in her throat whilst she kneeled in a sign of respect, the instinct of survival had started to make her entire body shake at the fear of the unknown, she must come out of this unharmed.

“King Viserys, I am as shocked as you are still I ask for just some time, I can show you that I speak in all transparency, I can help you, use my knowledge to your advantage until I find a way to go home”

(Y/n) had become King Visery's closest advisor they were a good handful of times that Viserys specifically summoned her, he was always infatuated with dreamers so to have a woman with such power was his biggest asset.

Otto was naturally displeased and somewhat furious at her demeanor, her entire personality was just baffling to him, (y/n) interrupted him whenever he tried to offer his piece of mind to the king, (y/n) had taken away the power he had worked tirelessly to create.

(Y/n) was now lady (y/n), alongside Rhaenyra had to earn a seat at the small council which of course Queen Alicent had as well, (y/n) would of course try to stir Viserys in the right direction however a dilemma stuck in her consciousness like a thorn, she was well aware of how this would go, the dance of dragons, the war that will kick off in a few years, the hatred that was brewing between the greens and blacks, the burden fell on her chest like a pile of bricks, if she were to twist the future would the entire world become something different? Or would she save a thousand lives?

They were times that (y/n) could not have foreseen an event, Rhaenyras tragic wedding feast for example did not quite describe the death of a man, even if it did (y/n) could not have prevented it from occurring mind the fact that she was rather busy, Daemon had asked to have a minute… alone with Lady (y/n).

Daemon was always intrigued by her presence, her sharp tongue, and her reluctance to step back when it comes to an argument, she had the fire of a dragon in her, to Daemon it was evidently clear specifically when she was bare, she had confidence, experience, shameless passion, her touch did not tremble nor did she question herself, she took the reigns from him and showed him how they do it in her time.

“Lady (y/n) can I ask you a question?”

“Of course my prince”

“Father says you know the future, will I get a dragon?”

(Y/n) froze, on the morrow of Laenas funeral what would be the odds for meek Aemond to ask such a question? Today is the grim day that Aemond would lose his eye in a squabble between him and his nephews.

All color drained from (y/n)s face although she desperately attempted to keep her composure in front of an impatient Aemond who was looking up at her with eyes full of hope, all he ever wanted was to fit in, to have what everyone else had, though the cost he must pay was a rather painful one. (Y/n) reached to caress the young prince’s soft cheek and create a circle with her thumb on his soft skin.

“You will, my prince, speaking of such how would you like for us to go for a walk later? I would love to speak to you about it”

“Thank you, lady (y/n), I will be waiting for you”

“Promise me you will wait before you go anywhere”

“I promise”

“Pinky swear?”

“What?”

“It’s a tradition from my childhood, just hook your pinky to mine, like so”

Aemonds pinky intertwined with (y/n)s who was smiling brightly at him, she could not let the poor boy lose his eye over a dumb argument between children, all of the families fought but when you add dragons into the mix it can get messy extremely quick.

“May I ask what is this odd choice of a handshake about?”

“Well Otto it is something from my home, know there is where women can show cleavage and their legs and fathers do not marry their daughters to men that are twice their age”

“Yes you have been rather descriptive of the shameful customs your people hold”

“I know, a woman having an orgasm must be such a baffling concept to you or is it the fact that some of us do not wish to have children and there are actually safe ways of protecting us from conceiving that disgusts you?”

“Hold your tongue in front of the prince”

“You do not command me and you do not scare me, Otto, so I suggest you back off and let me be”

“Lady (y/n), may I have a moment alone with you?”

Daemon interrupted the conversation that was getting quite heated, to be discussing with such temper in public was something that was out of character for Otto but there was just something about her that pushed him beyond himself, to vocally express the urge of sexual desires and taunt it so freely, Parading her flesh like a succubus, no Otto refused to give in.

“Of course, my prince, remember our promise sweetling”

She whispered to Aemond before she raffled his head and winked at him playfully, all of the playfulness was gone when she diverted her eyes to Otto, a frown swiftly appeared as she eyed him from head to toe with utter disgust.

“Asshole”

She hissed making Prince Daemon choke on his laugh from being taken by surprise by her choice of words. (Y/n) walked with Daemon side by side but in utter silence, she just silently followed him waiting for Daemon to let her know what he wished to say in private.

She did as such until they reached the shore, her patience had run thin and her shoes were filled with sand, she just plopped down and took off the shoes to properly feel the sand and enjoyed the sensation of direct contact with nature.

“What is it Daemon, spit it out”

“I thought you would be gone by now”

“So did I but I have yet to figure out the way to go home”

“Perhaps you are not supposed to go home”

“Daemon we have discussed this”

“I left because you send me away, even then I send for you, asked for you and you denied me”

“I had a reason and you were married”

“You send me away”

“Are we going to reminisce about what I did the night we fucked at Laenas funeral?”

Daemon came to a halt at her question. Nobody was more embarrassed by his neediness than him, Daemon was a good-looking man and a prince, he never had any trouble with a lady he yearned for, except (y/n).

After the exceptional time they had together he could still vividly describe how she patted him on the shoulder and told him that she should walk into the feast first so they don’t look suspicious, the coldness in her voice after such a steamy affair left him with countless questions.

Daemon sat next to her and just stared at the horizon, he wanted to hug her, tell her how much he missed her, confess to her exactly the amount of letters he had to send asking about her, (y/n) made him feel weak.

“I wanted to come, I often yearned to relive our moment but I cannot offer what you are craving. I could leave at any time just like a came”

“I have always been a risk taker”

“Your end goal is marriage Daemon, I understand that my age here means I am an old maid but where I grew up I am young, I do not wish to be wed nor have children and you do”

“I have children”

“And I am sure you love them and you love being a father because that is who you are, I am simply not”

“Isn’t this lovely, you have me all figured out”

Daemon spitted with sadness dripping at every word, he could not say that she did not have a point, still, at the end of the day he wanted her, he wanted to burn himself alive in her fire just to feel her warmth.

Daemon got up to leave when he was forced to stop by someone holding him by the wrist, once he looked back to find (y/n) on her feet and had latched her fingers on his wrist.

“Daemon don’t be like this”

“Well, what do you suggest then?”

(Y/n) did not know what to say for the first time in forever, she acted on instinct when she hugged him, her head went on his chest and his heartbeat was picking up at the beat that caused a smile to decorate her lips. Daemon hesitated though he gave in and pulled her tightly.

“This is not fair, you are playing dirty”

“I never had you for a man that is afraid to get in the mud”

They both giggled and (y/n) lifted her head to take a proper look at the prince who was smiling down at her. His index finger and thumb found their way to her chin, after all these years she had frozen in time, still as breathtaking and agitating as he left her.

Daemon was taking too long for her liking so she took initiative and collided her lips to his while being on her toes which did not last long since Daemon was always quick on his feet and pulled her up for her to wrap her legs around his torso, both of them moaned in each other's mouths from the anticipation, Daemon could feel the harsh licks of her fire surrounding him an experience that was so sweet yet deadly.

Daemon made the mistake of laying her on her back which only resorted in (y/n) putting her entire weight on her legs to flip him over in an instant, she never really liked allowing someone to lay on top of her.

Their movements were messy and rushed, and both of them could not contain themselves, they wanted to see one another naked, feel their skin bare as they caressed one another, her moans were animalistic, and the way she moved was like a conqueror that raced into a battle, Daemon was left defenseless and became a mere puppet to her game of sex, he did not complain of course this was what he loved about her, this was (y/n)s favorite part of sex, the feeling of it, the urge of it, the realization that you want someone’s body, that it’s yours for the taking.

Daemon gripped her hips so harshly that he left marks behind, secretly he thought that he was being greedy by being the only one to experience such a show, (y/n) at her natural habitat, what a foolish fantasy, to have an audience in their beddings, he shoved that idea at the very back of his head when it dawned on him that other men would see her naked, would listen to her moans, they would know her magic.

Daemon was utterly unaware that his fantasy was becoming reality at this very moment, both of them blinded by passion to the point that none of them looked around, they focused on each other's eyes, the eyes that whispered everything that was left unsaid between them.

Once their connection came to its very peak (y/n) left her body to lay on top of his as she desperately worked to catch her breath, it was then that a man dressed in green decided to leave the scenery, a man that had spied on them and had frozen to his spot at the sight that had unfolded in front of him had come out of his trance to scatter away before he gets discovered.

“Was it worth waiting all these years?”

“Definitely”

(Y/n) placed another kiss on Daemon's lips at his answer, his strong body was the best bed after such an intense workout, her legs had already started to shake and she imagined this is what it felt like riding a dragon for hours on end.

The world is funny because when (y/n) went to vocalize her thought she heard a dragon approaching, once she fixed her focus on the sky she could see the humungous dragon that was heading back to land, its size was frightening, she could not remember which one was it, it wasn’t syrax and not Vermax, who could be riding at the such hour?

“Someone claimed Vhagar”

“Oh no, oh shit, fuck no”

Requests are open!

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