#Like it’s almost like a motivational quote

[kveom]

@svtsource carat revival 2024: Picking Favourites and Fights

↳ Bias: DK | insp.

[itz-pandora]

Huh. If my life was a quote, it'd be "one of those sad ones with a deceptively happy tune"

[humanmorph]

Lye „Lyke“ Lychen as a sacrifical altar (to Aterika’Kaal) (but he's also kind of the sacrifice)

my @secret-samol gift for @bronanlynch! for the Aterika’Kaal/Lyke prompt of „what if things had gone differently and Aterika'Kaal was still with Lyke“.

notes on this under the readmore!

AU

In this scenario Lyke would succeed in getting the heart of the Motherbeast in Episode 47 and while Alaway would notice & probably still call out to Aterika’Kaal the way he presumably did in canon, Lyke would be there and get to make a compelling case to Aterika’Kaal the likes of „If you stay with me I am going to feed you. I’ve taken care of you until now, I’ll keep doing that“ (argument supported by the fact he’s currently holding the heart of an incredibly powerful dead god). Aterika’kaal agrees and they barely escape through the Sanctum of the Stone Chorus portal. I think it's fun if Lyke then stays there after the hour described in the move is over, maybe knowing he can't convince Pickman & the others that what he's done is actually good, and fine, there's not even anything to worry about he has this totally handled, But yeah he then sets out from whereever in Sangfielle Aterika'Kaals domain is (Austin did say it was an actual place somewhere), and the rest of the Blackwick Group is left to wonder what the hell happened since Lyke just vanished! Alaway has possibly fucked off too after losing the heart. And them getting fired, the Carnival of Moted Light etc. would still happen (and I guess Chine would succeed at what they were doing since Lyke isn’t there?) and who knows if they’d take any action in finding Lyke after that! All that aside though, Lyke basically offers himself to feed on (through blood and/or energy) and to sustain that he keeps consuming(not literally eating) powerful objects/artifacts/resources and possibly eventually living things (I’d imagine he'd still take work as a „please deal with this weird shit for us“ person and when he has to kill a cursed beast or whatnot... might aswell feed Aterika'Kaal?) (What also plays into that decision, and is part of Lyke justifying this to himself, is that without him, Aterika’Kaal would become too powerful. So he aims to function as kind of a conduit & control the power intake so to speak. I think this probably doesn’t work for very long.) I think this eventually goes bad for him because it’s super taxing on his body and the whole deal kind of flips with Aterika’Kaal feeding/keeping HIM alive. He starts finding bodies in the domain again (alternatively, Aterika'Kaal gets better at hiding them because it knows Lyke doesn't particulary like it when it does that). Lyke probably gets stronger due to this power/magic wise, but also way more fragile (he's constantly anemic!). („I love you. I want us both to eat well.“ - Christopher Citro) („When I write of hunger I am really writing about love and the hunger for it, and warmth and the love of it and it is all one.“ M.K. Fisher) Notes: I put some resources Lyke’s canonically had in-game + some extra stuff in this picture (the arrow is a reference to Marn’s epilogue, the bugs are bugs (with possibly sinister connotations. If you want them to have those, it’s optional) and the fur is from the Ravening Beast). Another detail I came up with I might aswell tell you because otherwise noone might ever know: the ring with the blue stone is a gift from Es. Sketch Notes: 1. Lyke turning his head to kiss a rose / exposing his neck was one of my very first ideas/sketches I made while working on this, and I liked it too much to not include it. 2. This is supposed to be Aterika'Kaal giving Lyke a blood transfusion but it rather looks like it's feeding on him instead...! I like how the relaxed pose turned out. 3. I wanted to draw something smaller in a simpler style to fill the big canvas I was drawing these on (even though now I put them in separate files anyways...). The day I drew this I saw a tweet about a medieval monks sketchbook, so I was still thinking about that. I didn't even plan to color it originally but I ended up getting invested, haha

Inspired mainly by these 3 quotes: „KEITH: I’m a walking- I am a shrine to Aterika’Kaal.“ (Sangfielle 12: The Secret Ledger of Roseroot Hall Pt. 4) „KEITH: There's a version of dealing with Aterika'Kaal that ends with Lyke being satisfied that he rehabilitated a god or at least it looks […] like what he thinks Aterika'Kaal would have been before the YVEs showed up. That's probably his main retirement path, but it also might kill him instead.” (Sangfielle 47: Wax, Iron, and Ichor Pt. 4) „AUSTIN: As you’re fading, the last thing that you do is make this blood sacrifice to Aterika’Kaal. Your own blood.“ (Sangfielle 52: Six Travelers: Lyke)

[pastadrawstma]

Today Pasta brings you an UPDATE!!

Starting on Monday, every second week will be themed, first being art based on song lyrics, then animals, then TMA quotes I wanted to draw, then snakes, then redraws of old art pieces and finally beloved underrated background characters I have obsessions on

Any suggestions for these themed weeks are highly appreciated!!

I hope this is fun for you as it is for me :3

[six-of-ravens]

after two weeks it's finally occurred to me that I can just. put Tam Lin down for a while and read something else.

[artemismatchalatte]

Quotes in my current journal (kept since early February 2023).

I found them on Pinterest and copied them into my journal.

[risingsunresistance]

finally changed my icon back even tho i rlly like the christmas one 😔 also changed my title bc looking at the old one was upsetting me lol

[ms-demeanor]

hi, hopefully this isnt a stupid question -- this is only my second election i'm voting in, and i'm a little confused about results. is it actually confirmed that trump has won, or is it just almost certain based on the counted votes? bc i know that provisional ballots (like mine) probably arent immediately counted, and there was that thing about votes needing to be verified because of signatures, plus to my knowledge the electoral college doesnt vote til december? i'm probably just grasping at an infinitesimal chance of things not being shit, but also i do actually want to understand and google is not helping :( if you can't explain no worries, you just seem to be knowledgable & willing to answer questions haha

This is absolutely not a stupid question.

So everything is currently pointing at what is most likely, not at what is 100% certain, but it's like 99% certain. There are still votes being counted, but in the states where the election has been called it has been called either because enough of the ballots have been counted that the remaining count wouldn't change the results, or that the area is historically so strongly in favor of one party that it's exceptionally unlikely that they'd flip the other way (for example, they're still counting california's ballots but you're more likely to get struck by lightning five times today than california is to flip red in this election). The places that have not yet been called do not have enough electoral votes for Harris to win the election.

The electoral college is exceedingly unlikely to flip their votes against the state/district vote; "Faithless electors" is the term for members of the electoral college who would vote against the vote they are committed to for their region. It was something discussed in both the 2016 election and the 2020 election and flipping the electoral college without winning the election was the motivation behind J6. As shitty and bullshit as I think the electoral college is, if you're going to have one and you're going to have the rule of law, you can't hope for faithless electors because what you're hoping for at that point is that the people representing you are acting directly against the choice of the voters.

I want you to listen to me. I have been voting in presidential elections since 2004. Presidential elections always suck. Who the president is does matter, and does impact your life, but you genuinely do not have a ton of influence over that so you can't let it throw you into despair and inaction, because we should be active and political and protesting the wrongs of the world even if your favored political party wins. Vote in local elections, work with your local community, and if your local community sucks too, work with online communities to both give and get support.

Whenever something like this happens, people pass around the Mr. Rogers quote about looking to the helpers. I like that quote. I think it's good, I think it's hopeful, I think it helps! But I also think that sometimes it's even more effective if you look for how to help. Who are you the most scared for after this election? Who are you worried about in your community or among your friends? What can you do that might make their life easier? What can you do to protect people like that in your community? What don't you know that might make you better prepared to help them in the future?

One thing that I think is a fantastic way to prepare to help is to either begin or continue learning a language that you don't know. I am working hard on my Spanish because I live in California and there are a ton of Spanish speakers here who I might be able to help. Is it directly aiding anyone right at this second that I'm practicing conjugation? No. But it might help someone who is being harassed by a cop, or who is unhoused and needs help, or who is being abused by an employer at some point in the future, and I can get myself ready to help. Learn how to use naloxone and pick up up an inhaler; you might not need it now, but it'll make you ready to help someone who does need it. Order free covid tests every chance you get, even if you don't need them, because then you can give them out to people who do need them. Plan B has a multi-year shelf life. Pick some up so that you've got some on hand if someone needs it.

Maybe there's nothing you can do right at this exact second (though if you are able to donate to gender affirmation fundraisers, border kindness, abortion funds, bail funds, etc., you can absolutely do that), but you can get ready to help someone who will need you someday.

[chimcharstar]

.

[andhumanslovedstories]

I am not closely following the election results tonight, but I am occasionally seeing flashes of them out of the corner of my eye. The most obvious sign that things aren’t going well right now is the complete lack of celebrating on my dash. I know what tumblr looks like when it’s happy. Maybe I’ll go to bed tonight and see something different in the morning. I hope to god that is the case. But I’m thinking about the way I’m thinking right now, and I want to get some stuff down before the future kicks in.

In 2016 I was in a period of my life I affectionately refer to as as my fuckup era. I wasn’t even fucking up really. More just chilling out and falling short of the vague expectations I’d had about what I was supposed to be doing after I graduated college. While my friends from college rented apartments in the city and got jobs that didn’t supply you with a uniform shirt, I lived at home and worked as a barista at a fancy movie theater. That’s a real job you can do for almost five years. I didn’t have a clue what the back half of my twenties should look like. The only long term plan I had in my life was moving out west with my best friend, and my plan for finding a job once I was out there was basically to cross my fingers and hope.

Those days weren’t bad on the whole, but it felt like I was not actually living a life so much as I was goofing off in the waiting room. Sometimes that felt embarrassing, sometimes it felt fun, and sometimes it felt like I was completely pointless to the world.

On 2016’s Election Day, I went to bed early. After watching the votes come in, I needed the night to be over. I woke in a world that felt different than it had been the night before—not just in the actuality of who would be president but down to its foundations. I realized for the first time how much hope I’d had in human nature because now I didn’t feel it anymore. It’s almost silly when I think about it—so many horrible things had already happened that year, people had done horrible things as long as there have been people, and I didn’t think I was naive to that—but something clicked into place that morning.

It felt the same way my world had changed a year earlier, in 2015 during my last semester of college. My college victory lap felt like a prolonged downward spiral. Very early in the morning on a Monday, after pulling an all-nighter and overwhelmed by self-loathing that I could not just motivate myself to work on a paper that had been my only thought all weekend, I self-harmed for the first time in a way that was impossible to pretend it was anything else. Earlier that weekend, I’d tried staving off the urges drawing or writing on my arm, something that did (and does) usually work. I’d written this quote in silver sharpie on my forearm: “Good is not a thing you are. It's a thing you do.”

I picked that quote from the Ms. Marvel comics and liked the words so much, I thought that I wouldn’t be willing to purposefully mess it up by hurting myself there. Didn’t work. They just made me feel more ashamed of myself as I did it.

That was the worst I had ever felt. Then, on the Friday of that week, a friend of mine was senselessly, brutally murdered.

It doesn’t feel now like there was ever a time before her death. My memoir class is now where I wrote about her. My favorite professor is now the one who held me as I cried. My final thesis, the culmination of my history degree, never got finished and certainly never got polished. I turned it what I had and got an A minus. Sometimes I think of rereading that paper to see if that’s the grade it actually deserved. We hadn’t been the closest friends, but my name was still on the email admin sent to professors, listing students who might be emotionally affected by this tragic event. Grace’s murder hangs over every memory I have with her and everything she ever touched. It feels like its own type of obliteration to leave her reduced to her death.

Grace wanted to be a lawyer because she believed in justice and also liked arguing. She could be rude when she wasn’t interested in what you were saying. When you caught her attention, you felt like the most fascinating person in the room. She was so proud of being Jewish. I watched her become proud of being gay. She was so universally friendly that it took me a year to realize that she actually liked specifically me. She had a somewhat silly laugh and an astonishingly luminous smile.

I thought less of the world and the people in it because of how she died. Trump’s election in 2016 felt like that.

After he won, I left stasis. From November through December, I thought harder about my future than I ever had before. Who did I want to be? What did I most value? What did I think was worth protecting? What work wouldn’t kill me to do? At one point, in presumably a fit of madness, I thought, “what if I got into politics.” Epiphany eventually hit me. By the time of Trump’s inauguration, I was already enrolled at community college, getting my pre-reqs for nursing school.

Now it’s election night again, eight years later. I live on the west coast with my best friend, in a house that we bought together. I work as a nurse in a hospital in a city where there are homeless encampments off every highway and someone begging for change on every corner. Meanwhile, there’s Palestine. Meanwhile there’s Sudan. Meanwhile refugees drown in the sea and border patrol shoots jugs of water. Even hurricanes have human cruelty now.

I don’t think people are inherently good or the universe inherently kind. But I am very good at tricking myself into thinking it for a little while, and when I do, I can remember the a specific feeling from Friday of my senior year, from that morning in November— how fucking hard the disappointment hit me because I had expected people to be better than this. It makes me want to be better than that.

I believe, and hope that I always will, that we can make a better world. I don’t know what it looks like, but I think I will see it in my lifetime. Those of us who can believe such things owe a bit of that naïveté to the world—not to excuse atrocities or think them impossible but to believe that we can stop them at all. You have to have a couple people sprinkled around who are genuinely shocked when people do bad things. It’s not that the pessimists are wrong, but you need the occasional counterbalance. I want to be a reasonable cynic’s pleasant surprise.

Every shift, I interact with people at their lowest and worst. I see the direct pipeline from pain to anger to violence, and how fragile that pipeline can be. So many situations can be changed by things as small as a warm blanket or a kind word. Violence can be quite easy to avert. Crises can be quite simply to resolve. Even when I know that whatever I do that shift will not change the circumstances of a person’s life, I think that what I do that shift still matters.

I’m lying in bed, writing this post instead of looking at the news. I wonder how tonight will change me. Been thinking about what I’ll do if Trump wins. Been thinking about how whatever I think I need to do under Trump will still need to be done if Harris clutches out a victory. I guess this is a pessimist’s optimism: to a degree the election doesn’t matter. Good is not a thing you are. It is a thing you do. Our better world will always take a lot of work.

But please god please, why can’t it be just a little easier to do it?

[penisbagelbite]

"Affirmation" & Malgendering

"Fine, I'll 'respect' your gender, but I'll make it absolutely miserable for you. What? You don't like the way I'm 'affirming' your gender? Guess you'll have to stop being a (trans) man then."

I want to put something out there about what I call "malgendering". I see trans men talk about the phenomenon and acknowledge it as a part of antitransmasculinity but not the concept of "malgendering" itself and what it's purpose is, and as trans men and transmasculine people are especially caught in the lose-lose situation between misgendering and malgendering I think it is an important concept to establish. The erasure of transmasculinity, particularly as a unique gender and gendered experience, also serves to keep the transmasculine trapped within this double-bind, positioned between the gender binary of cis patriarchal ideas of womanhood and manhood, where for us there is only misgendering (being abused with the Woman gender) or malgendering (being abused with the Man gender).

I define malgendering as the practice of "validating" someone's gender identity only when it can be used against them and to hurt them, and malgendering almost always involves the enforcement of only the most negative sexist stereotypes available onto the victim with none of the "positives". If misgendering is forcefully pushing you back into your 'proper place' such as by calling you a "girl" or a "her" and showing you that you're really a woman through sexual assault -malgendering is scaring and traumatizing you into it by using your own gender against you. Malgendering is the realization that you don't need to misgender someone to hurt them or to punish them for the way they identity and push them towards the gender they're 'supposed' to be - you can do all that through 'validation'. It's psychological warfare on the sense of self.

This violence and abuse under the guise of "respect" and "identity affirmation" creates plausible deniability of intent and places the blame on the victim for "identifying that way", so much so that even other trans people will defend it and believe it's not maligned (especially because "but being seen as and treated as your gender is what trans rights is all about!" and "errm but its transphobic to not treat u this way?/ur misgendering urself by wanting to not be treated this way :/" with the hidden message being "don't like it? stop being trans"), even when faced with evidence of the (very much intended) effects it has on stalling and outright eliminating transmasculinity (ie. repression, detransition, suicide).

Some examples I can pull off the top of my head:

A transphobe is talking about a pregnant trans man. The whole energy of the Facebook video is 'comedic', and while calling birth the most “feminine” thing someone can do and alluding to how the trans man is really a woman, they still use he/him and call him a “guy” (in air-quotes). Not out of any respect but because the idea of a man being pregnant, calling a pregnant person a "he", and the very existence of the trans man in question, is the whole joke. In doing so, the transphobe has turned the act of using the proper pronouns and gendering him into a source of humiliation and made the experience of being properly gendered a demeaning one. -

The Ukraine military situation where all males aged between 18 and 60 were banned from leaving the country and obliged to serve in the military. Trans women were denied passage out of the country "because they were men", and trans men were similarly denied passage out of the country "because they were men". With the discrepancy between invalidating the gender of trans women and "validating" the gender of trans men, you'd think the motivation behind this would be obvious - that trans people are expendable meat and it's better they die than cis people. It shouldn't of needed to be said that "I'm only affirming your gender because it allows me to put you in a position where you will likely suffer and die and put the blame for it on you" is not 'respect' or 'affirming' at all but somehow this was taken as evidence for the idea of that trans men are more 'respected' and seen as their genders than others (and are thus 'privileged'). -

A common one almost every trans guy deals with at some point is cis people threatening to beat trans men up (and often following through), because "If you're a man and not a woman (anymore) that means I can punch you," using the proximity to masculinity that transmasculine people claim as a justification for violence. Every other week there's a new story in online transmasculine spaces about someone having their ribs broken with "Since/if you want to be a man so bad-" preceding the attack. -

The above is in a similar vein to when accounts of violence done to transmasculine people by cisgender men are brushed off and they're told something along the lines of "welcome to being a man", "that's just what men do to each other", "that's just the way things are with men", etc. along with the insistence that their attack had nothing to do with antitransmasculinity, making it an immutable problem with (cis)men as a whole - creating a sense hopelessness and that this is all they have to look forward to. -

Transmasculine individuals being refused treatment, tests, or insurance for gynecological issues, especially cancer, despite the knowledge that they are transmasculine, because "men don't deal with these problems" and they don't want "men in women's spaces", and if you don't want to be 'treated like a man' and get the care you need (and not die), you're going to have to go ahead and detransition, change that M marker back to an F.

All of this functions to create contention, and eventually a rift, between the individual and their sense of gender identity. Creating an association between being gendered 'correctly' and 'respected' as your gender (and ultimately existing as a transmasculine person) with abuse, violence, helplessness, trauma, fear, isolation... and by making transmasculinity and transmanhood uninhabitable and driving a wedge between the individual and their sense of gender identity you can more easily drag them back to their 'proper' place. Plant seeds of doubt by making being transmasculine an exceedingly unhappy experience. Make them think that everything that's happened is their own fault for choosing to be transmasculine or trying to be a man. That maybe since they're so unhappy this isn't for them. That living as a transmasculine person is just too difficult and they're not cut out for it, that if they "gave up" and were to be women again things would be easier and they would be safer and happier.

This also all serves to maintain cis patriarchal ideas of gender and the gender binary and police the boundaries of manhood, in a way I can't articulate right now.

Through all this, despite being called "men" during malgendering, we are not actually perceived as such. We are always an "other". Acknowledging us as "men" is just another weapon, and why some transmascs flinch at the phrase "trans men are men". Our own genders are used to beat us.

Using a scrap from my .txt journals:

"[...] on the subject of having a core aspect of yourself taken from you and turned into a weapon to beat you with, with the result being that aspect of yourself now becoming a source of trauma and pain so you abandon it and lock it away like an awful secret, that’s exactly what happened with my gender. Being genderless and a(nti)binary is what I’m most comfortable as, a(nti)gender is my ~real gender~, but I have to admit a lot of this is because I have been traumatized out of any gender with binary associations and have consequently come to know gender itself, and the act of gendering, as violence. Gender is but a designation for what exploitation, abuse, and violence can be enacted upon you and the justification there of. When someone asks whether you are "masc" or "femme", behind their back as they face you is a hammer in one hand, and a knife in the other, and what they are actually asking is if they can pummel you or lacerate you. When it comes to the “direction” I’m transitioning in though, it is obviously “masculine” (as much as a negation of "femininity" is always taken as stepping towards "masculinity") and you wouldn’t be entirely wrong to call me “transmasculine”, though I have been scared to death of being acknowledged as such."

My first encounter with malgendering was when I was 13 and had just started to realize I was "ftm" and looking for community online. My first exposure to any affirmation of transmasculinity was someone I came to respect reblogging a post about how Kill All Men includes trans men. This would set the precedent of the next decade of my life of existing while transmasculine. A decade of only hearing the words "trans men" and "transmasc" used negatively and as the butt of jokes that served to reinforce patriarchal ideas of gender. The consistent and relentless denial of transmasculinity as a unique gender and gendered experience, the denial of transmasculine reality especially in regards to misogyny, and continuous abuse and threats of violence, all under the guise of affirming trans men's genders as men (and affirming the gender binary in the process). A decade of having antitransmasculine sentiment fed to me in every way possible.

For me, the experiences of antitransmasculinity and malgendering from non-transmascs has effectively "chased" me out of my transmasculinity and any acknowledgement of it. For years I have hidden my transmasculinity and presumed "AGAB" out of fear, even in queer and supposedly trans-friendly spaces. I have not been able to associate with any “masculine” language in reference to myself without feeling that I am in imminent danger, have made a grave mistake, and suffocating in anticipation of punishment. I have always been scared of posting any of my art that eludes to my transmasculinity. I have always been terrified of being referred to or perceived as “transmasc”, a “trans man”, of being called a "guy" or “dude” or “bro”, of using "he/him" anywhere. All of it. Deep down on some level I do desire it, but it’s been forbidden and only aggravates existing wounds.

And this, in turn, pushed me out of associating with other transmasculine folks out of fear and internalized antitransmasculinity towards other transmasculine people, isolating me from any community or connection with anyone similar to me, exacerbating my loneliness and alienation as a youth to the point where now as an adult my ‘normal’ human social needs – connection, community, relationships, empathy – are completely broken. I don’t feel loneliness anymore, or the desire to connect to anyone, despite in ways being even more alone now than I was then. In a way I believe antitransmasculinity shaped the path of my schizoidism. Isolating and divorcing me from my transmasculinity and the world at large is what I understand to be yet another point of this type of antitransmasculine rhetoric - because when you've destabilized and isolated someone from their whole sense of self and community, they are much easier to control.

[tempobaekh]

A Love (Not) Torn Apart

pairings: daryl dixon x fem!reader (takes place in alexandria)

warnings: not much, fluff, crack, alcohol consumption, some shouting, maybe ooc daryl? the images at the top DO NOT indicate any physical appearance of the reader

a/n: i’ve been meaning to write something for this fine ass man for a while but I’ve been having a major writer block and busy with my junior hairdresser exam BUT i stumbled upon this post by @angelwings-crossbowstrings and i just had to turn it into a story. also i’ve been binge reading and rereading all of @dixons-sunshine works. she’s an amazing writing with enjoyable writing and also gave me some motivation to write something🤍 anyways this had me laughing at work and trying to write in-between customers💀

The sun had long dipped behind the walls of Alexandria, and the sky was an inky black, littered with stars.

You barely remember how it started. One minute, you were lounging on the couch, minding your own business and chatting with Carol after a particularly tough day in Alexandria. The next? Well, you were plastered—thanks to the moonshine Carol stashed away "for special occasions." She called this a special occasion because she was "bored," and apparently boredom justified cracking open a bottle. You didn’t argue. Why would you? It had been a rough week.

You should’ve known better. You’re not much of a drinker.

You have always had a low alcohol tolerance. When you got drunk, you would often do the most stupidly odd things.

Like the day you got shitfaced drunk and told Rick you could outshoot him blindfolded, almost shooting the man in the damn head. Or the day you insisted Daryl hand over your marriage papers so you could set it ablaze, saying, quote, 'Good luck returning me without the fucking receipt, Dixon!' Before collapsing into his embrace.

However, following Rick's incident, there was always a 10-foot radius check for weapons if you and a drink were present.

Now, you’re sitting in the middle of the living room floor, sobbing uncontrollably. Your hair is a wild mess—like, wilder than usual—and your hand clutches an old, tattered Polaroid picture of Daryl’s wife.

Except... you are Daryl’s wife.

 It was an old, weathered picture of you and Daryl taken back when things weren’t so apocalyptic. You looked happy in it—probably because there wasn’t a horde of walkers trying to eat you at the time. Your arm was looped around Daryl’s waist, and he had that rare, soft smile on his face. It was a picture you loved.

Right now, though? You hated it.

"She’s so pretty!" you wail, voice wobbling dramatically, holding up the photo to no one in particular. “How did he end up with someone so gorgeous?” Your head lolls back as you take another swig from the bottle of moonshine in your hand. “I’m never gonna be as good as her!"

Across the room, Carol watches from her seat with a mixture of amusement and concern, sipping from her own glass. She’s been trying to calm you down, but her efforts haven’t been successful. At this point, she’s just waiting for the storm to pass. Rick, however, looking for Daryl, steps through the door right at the pinnacle of your emotional breakdown.

“Carol,” Rick begins, eyeing your tear-streaked face and the empty bottle in your hand. “Why is Y/N cryin’?”

“She’s drunk,” Carol responds, deadpan, like that explains everything. Which, in all fairness, it kind of does.

Rick looks at you, then back at Carol, eyebrows raised. “And?”

Carol lets out a long breath, like she’s explained this one too many times. “She saw a picture of Daryl’s wife.”

Rick frowns in confusion, scratching the back of his head. "But… she is Daryl’s wife."

“I know,” Carol deadpans.

Rick shoots her an incredulous look. “She don’t realize that’s her?”

Carol just shrugs. "You ever try reasoning with a drunk person?"

Rick’s eyes narrow slightly as he processes the absurdity of the situation. “Where’s Daryl?”

Carol shakes her head, an amused grin tugging at the corners of her lips. “She kicked him out for cheatin’. He’s in the garage, waitin’ it out."

Rick looks like he’s about to say something, but instead, he just shakes his head, rubbing the bridge of his nose with a sigh and decides to approach you instead, “Y/N?”

You hear Rick’s voice, but you can’t bring yourself to respond. 

Rick’s footsteps draw closer, and you can see him out of the corner of your eye. He’s frowning, his brows pulling together in confusion. That’s the look. The ‘what the hell is going on’ look. You’ve seen it plenty of times before. He squats down in front of you, hands resting on his knees as he assesses the situation.

Your face screws up again, tears welling as you shove the bottle toward Rick in a grand gesture of misery. “He’s cheating on me!”

Rick recoils slightly, probably because your breath smells like a distillery at this point. “Uh... what?”

“He’s cheating!” you repeat, throwing your arms wide like this should be obvious to everyone around you. You wave the photo in the air dramatically, like you were presenting your case to the high court. “With some—some woman!”

Rick looks at Carol again, completely confused by how your drunken brain came up with this. Carol just shrugs, but there's a slight twitch in the corner of her mouth like she’s fighting a smile.

“Okay... slow down,” Rick says cautiously, rubbing the back of his neck. He’s good with walkers, not so good with drunk people. Especially drunk people who are screaming about imaginary affairs. “Who’s he cheating with?”

You look around conspiratorially before leaning in like you’re about to spill the world’s most scandalous secret. “His wife,” you whisper dramatically, as if that explains everything.

Rick’s brow furrows again. “But... you’re his wife.”

You nod enthusiastically, your head wobbling a little. “Exactly! He’s cheating on me with me!” You hiccup, your hand flying up to cover your mouth. The bottle dangles dangerously from your other hand. 

 You knew this day would come. It’s just like you always feared—Daryl’s finally realized he deserves better. Someone prettier, smarter, and far less dramatic than you. You’re sure of it. You pull the Polaroid close to your face and squint at it.

"Look at her," you sniffle, voice thick with drunken emotion. “Look at how flawless she is. He’s probably out there with her right now!" 

Rick and Carol share a look, clearly unsure of how to handle this. Carol steps forward, cautiously approaching you like you’re a wild animal. “Y/N,” she says softly, “honey, that’s… that’s a picture of you.”

You blink, turning the photo back toward you and studying it intensely, your brows furrowing in concentration. “What?”

“That’s you in the picture,” Carol repeats gently, trying not to laugh.

You frown deeply, staring at the woman in the photo. “No, it’s not!” you argue, shaking your head as if they’ve lost their minds. “I don’t look like this—she’s so beautiful!” You lean forward, grabbing Carol by the arm, eyes wide with desperation. “Carol, how could he do this to me?”

Carol struggles to keep her composure. “He didn’t do anything to you, Y/N. You’re drunk.”

You collapse back on the carpeted floor, letting out a fresh wave of sobs. “I’m gonna divorce him! And then—and then—he’ll regret it!” The words come out in a slurred mess, your anger morphing back into sadness almost instantly. “He doesn’t even care! I kicked him out and everything.”

Rick pinches the bridge of his nose, sighing like he’s aged a hundred years in the last five minutes. He turns to Carol. “Okay. Where did you say Daryl was?”

You choose to answer instead before Carol can speak. “Who cares?! He’s probably with her right now!” You hiccup again, and then your face scrunches up as if you’re about to cry harder. “I’m his wife, Rick! And he’s out there... with her! She’s... she’s prettier than me!”

Carol lets out a bark of laughter at that, and even Rick cracks a smile despite himself. “Y/N, you are his wife.”

“I know!” you sob, throwing your head back in despair. “It’s awful!”

Rick lets out another long-suffering sigh. “Alright. I’m gonna go find Daryl.”

“He’s in the garage.” Carol mutters, and decides to console your hysterical self for the tenth time while Rick brings in Daryl.

“He’s gonna have to crawl back to me on his knees.”

Carol pats your shoulder. “Oh, I’m sure he will.”

You sniffle, nodding. “He’s just…he’s a man. They do dumb things sometimes.”

Carol tries to keep a straight face, but the corners of her mouth twitch. “Right. Exactly.”

After what seems like hours but is really just a few minutes, you hear the familiar sound of the front door opening and closing, with Daryl and Rick returning inside. 

Carol managed to peel the bottle of moonshine from between your fingers and pull you over to the couch, so you're now slumped over on the couch with the bottle somewhere in the kitchen. Your eyes narrow when you see him, but you’re too tired—and too drunk—to get up.

When Carol sees Daryl and Rick arrive, she gives Daryl a nod and decides to call it a night, returning home and leaving you to Daryl. Rick also says a quick goodbye to Daryl before leaving you two to be.

“I’m still mad at you,” you mumble, crossing your arms over your chest and looking away.

Daryl crouches down infront of you, resting his arms on his knees. “I know.”

“I’m divorcing you.”

Daryl smirks, brushing some hair out of your face. “You’re not divorcin’ me.”

“Am too.”

“Nope.”

You let out a dramatic sigh and lean into his shoulder, tucking your face in his neck, too exhausted to fight anymore. “I hate that picture.”

Daryl chuckles, wrapping an arm around you as he pulls you to your feet. “Yeah, well, I ain’t too fond of it myself right’ now.” He helps you inside, your steps wobbly as you lean against him, your anger slowly dissolving into sleepy acceptance.

“I was just... so mad,” you mumble, your voice slurred as you nuzzle against his chest. “Didn’t mean to kick you out.”

“I know, sweetheart,” Daryl murmurs, pressing a kiss to your forehead. “Let’s get you to bed.”

“Still... divorcing you tomorrow.”

Daryl just shakes his head with a smile as he helps you up the stairs. “Sure you are, darlin’. Sure you are.”

Daryl walks you towards the bedroom with the patience of a saint, keeping an arm securely wrapped around your waist as your legs wobble like a newborn fawn. You’re still grumbling under your breath, your words slurred and barely coherent, but your determination to maintain your fury has not wavered. Not entirely.

“You didn’t even say sorry,” you mumble, leaning heavily against him as you stumble over the threshold. “Should make you sleep outside again.”

Daryl chuckles softly, his grip tightening just enough to keep you from tripping over the rug. “Yeah, I’ll make sure to apologize first thing in the mornin’, sweetheart. C’mon, let’s get you upstairs.”

“Nooo,” you protest, your feet dragging with exaggerated effort. “You gotta... gotta say it now. Or—divorce.” Your head wobbles dangerously as you point a finger at his chest, your attempt to look stern falling completely flat.

Daryl shakes his head with an amused smirk, scooping you up in his arms in one swift motion. “Ain’t divorcin’ me if you’re too drunk to remember how.”

You give a half-hearted squawk of protest, but the sound dissolves into a giggle as he carries you upstairs. “I can remember!” you declare, though you’re already nuzzling into the crook of his neck, the warmth of him seeping through your foggy brain. “Daryl Dixon... divorced... for bein’ a big, dumb... dumbass.”

He reaches the bedroom and gently deposits you on the bed. You flop back like a rag doll, limbs splayed out as if you’ve completely given up on the world. “That’s a real solid case you got there,” Daryl mutters, shaking his head in amusement as he reaches down to tug off your boots.

You wiggle your toes when your feet are freed, watching him with a lazy, half-lidded gaze. “Yup. Real solid,” you repeat, mimicking his accent with a sloppy grin. “I’m real smart, you know. Like... a genius.”

Daryl pulls a face like he’s seriously contemplating this. “A genius, huh?”

“Yup,” you confirm, clearly proud of yourself. “Genius. That’s why I’m divorcin’ you. ’Cause... geniuses don’t put up with cheaters.”

He snorts and moves to grab a glass of water from the bedside table, holding it out to you. “Here. Drink.”

You take the glass but make no move to actually drink from it, instead eyeing Daryl suspiciously. “What’s this?”

“It’s water.”

“Water?” You narrow your eyes like he’s trying to trick you. “What for?”

“To sober you up,” Daryl explains, deadpan. “So you can remember all this nonsense tomorrow.”

You stick out your lower lip in a pout but finally lift the glass to your lips, taking a tentative sip. You immediately make a face like it’s the most offensive thing you’ve ever tasted, pushing the glass back at him. “I don’t like it.”

Daryl chuckles again, his eyes crinkling at the corners as he takes the glass and sets it back on the table. “Ain’t supposed to like it. It’s just water.”

“Doesn’t taste like moonshine,” you grumble, crossing your arms over your chest as if this is some great injustice.

“Yeah, well, you ain’t gettin’ any more moonshine tonight,” Daryl says, his voice low and teasing as he crouches down to pull the covers over you. “Now, settle down.”

You huff, wriggling around as you try to find a comfortable position. “Still mad,” you mumble, though your words are getting softer, your body succumbing to the overwhelming need for sleep. “Divorce papers... in the mornin’.”

Daryl lets out a soft chuckle, lying down next to you and pulling you into his chest. “Sure thing, darlin’. I’ll be waitin’ for ‘em.”

You curl up against him, burying your face in his chest with a content sigh despite your earlier threats. “Better be sorry,” you mumble one last time, already drifting off into a heavy, alcohol-induced sleep.

“Real sorry,” Daryl mutters, his lips brushing against your hair. “Real sorry for marryin’ such a stubborn little thing.”

The next morning hits like a freight train.

Your eyelids flutter open, and the sunlight streaming through the window feels like it’s stabbing directly into your skull. With a groan, you roll over and immediately regret it. Your head throbs, your mouth is drier than the Sahara desert, and your entire body feels like it’s been dragged through a pit of walkers. Twice.

“Oh my God,” you croak, pressing a hand to your forehead. “Never drinking again. Ever.”

From beside you, Daryl lets out a quiet laugh. “Yeah, I’ve heard that one before.”

You crack one eye open, glaring at him through the blinding light. “I’m serious.”

“Mhm.” He’s sitting up on his elbow, watching you with an infuriating smirk. “You said the same thing last time you drank, too. After you told Rick you could outshoot him blindfolded.”

You groan again, dragging a pillow over your face. “Please tell me I didn’t do anything stupid last night.”

“Oh, nothin’ too stupid,” Daryl says casually, but you can hear the laughter in his voice. “Just threatened to divorce me. You know, normal stuff.”

You freeze under the pillow, a wave of embarrassment washing over you. Slowly, you pull the pillow down just enough to peek out at him. “...What?”

“Yup,” Daryl confirms with a smug grin. “Kicked me out of the house for ‘cheatin’ on you’ with yourself.”

You groan again, throwing the pillow at his face with all the energy you can muster. “Oh my God, shut up.”

He catches the pillow easily, laughing as he sets it aside. “Ain’t lettin’ you live that one down, sweetheart.”

You cover your face with your hands, mortified. “Please tell me you’re kidding.”

“Nope,” Daryl says with a pop of the ‘p,’ clearly enjoying your misery. “Carol and Rick were real concerned. Thought they’d have to draw up them divorce papers right then and there.”

You peek out from between your fingers, narrowing your eyes at him. “I hate you.”

He leans in, pressing a kiss to your forehead with that same infuriating smirk. “Love you too.”

You try to scowl at him, but it’s hard to stay mad when he’s looking at you like that. Still, you groan and roll over, burying your face in the pillow again. “I’m never drinking again,” you mutter into the fabric.

Daryl chuckles, lying back down beside you and pulling you into his arms. “Sure you aren’t, darlin’. Sure you aren’t.”

Note: gifs, pictures, and header DOES NOT belong to me. CREDITS TO THE RIGHTFUL OWNERS!! Feedback and reblog is appreciated.<3

[pain-is-too-tired]

I hate,especially in the pjo fandom, when people cut characters down to 1 trait. Sometimes it's a trait that isn't even one they have!

Like Percy, Will and Leo being seen as dumb erks me to no end. Especially Leo.

I know they're incorrect quotes but I saw one where they used the "7x7" "stuff she knows!" audio with leo and I'm just-

He knew collage level math at 8!!! What you mean he wouldn't know 7x7.

He could probably recite 100+ digits of pi. He built a whole ship!!

Same with Percy and Will. Like Percy is not dumb, he's just someone who thinks on his feet and isn't book smart like Annabeth.

Will runs an infirmary and cabin by himself by 13. He immediately finds a way to check on Nico's condition and chides him for risking his health. He's working with no weapon as a field medic, he has to be smart enough to avoid attacks.

Nico isn't just the emo sad kid. He is quick to make friends with those people tend to be wary of. He's just getting use to people again after being on his own for so long.

Jason isn't just some boring/ lesser version of Percy. He has a detailed past and motives even without most of his memories.

Michael isn't just attitude and starting fights. The only fellow camper he actually fights with is Clarisse and he's pretty chill for the rest of the book other then just being sassy sometimes. He's usually just matching energy.

Stolls aren't all stupid either, they were 12-13 when they became hcs of the largest cabin at a camp. A cabin, mind you, that was recently ran by a 19-almost 20 year old. They're poster children for younger siblings suddenly forced to mature.

Maybe it's just me and my love for psychoanalyizing characters, but really like most people forget how 3 dimensional these characters are.

Do not get me started on characters like Drew and Octavian or how many of y'all forget Annabeth(and every demigod other than frank) also is dyslexic and not just the ones the fandom deems as "dumb".

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Tragic Hero

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Now the final part of the monologue in that chapter.

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

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

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

The second monologue is more denial.

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

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

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

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

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

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

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

As Codenamesanzanka says:

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

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

As @class1akids says in this reaction post:

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

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

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

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

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

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

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

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

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

Pro Hero Arc:

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

Hellish Todoroki Family 1:

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

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

Dabi's Dance:

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

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

The Fight Against AFO:

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

When Enji decides to double Suicide with Toya:

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

Hellish Todoroki Family Final:

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

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

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

As observed by Class1akids when we were discussing the update:

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

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

Batman doesn't fight victims. He saves them.

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

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

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

The Tragic Villain

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

Well, let me explain.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hey buddy, you're being selfish.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Themes Are For Eight Graders

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

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

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

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

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

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

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

Like, no.

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

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

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

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

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

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

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

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

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

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

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

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

"I wish you could be here, Toya."

"We all have to go stop, Toya."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EPILOGUE

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

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

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

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

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

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

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

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

You didn't mention Shoto once in this post:

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

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

[nonbinarylocalcryptid]

Astyanax, like every child out there, would totally give Odysseus mini heart attacks. Not only the usual ones (climbing somewhere too high for a kid, eating something he shouldn't, etc), he would also quote parts from Zeus' prophecy in The Horse and The Infant.

Picture this, Astyanax, 6 years old, they're playing tag you're it, Odysseus is chasing him (and letting the kid run away).

Odysseus: come here!

Astyanax: No! I'm faster than you! You can't outrun me!

"Odysseus trips in a cartoonish way*

Or this other possibility.

Astyanax, smol, shitting on a barrel, curious and distracting everyone from their duties on deck: we should play something

Eurylochus: Can't. We are all working

Astyanax: why?

Eurylochus: so we get to Ithaca faster

Astyanax: Hm, that's your motivation?

Eurylochus: that's what fuels me

Astyanax: then I fueled with rage

Odysseus drinking water in the vicinity: *almost shocks*

Astyanax: Perimedes said that's a good motivator

*Odysseus sighs in relief*

Eurylochus: don't listen to Perimedes

[mswyrr]

Qimir consistently aches to see the pain the dark side causes Osha and I believe this will lead him to resist Plagueis' plans in s2.

His first moment of regret and resistance is, in fact, at the very completion of his seduction! He gets Osha to put the helmet on - and it hurts her. It's causing her pain, so he fights to rescue her from that. Even though, presumably, this was (with Plagueis, whether knowingly or unknowingly) the goal.

Let's backtrack a second and reflect on the seduction itself. The show creator/lead writer, Leslye Headland, has said that it wasn't manipulation on Qimir's part, that he meant everything he said. Two relevant quotes from the same interview with her on this point:

"So, in my opinion, Osha is extremely in denial about her own anger at the Jedi and at her father, i.e. Sol. She's in extreme denial about that because she feels like she's not allowed to be angry, and she's in an enormous amount of pain over her sister and their history, and she also feels like she's not allowed to feel that. So, someone coming in and saying, “Actually, feeling all those things is not only okay but actually could restore your spiritual foundation,” is almost too much. I don't think that's manipulation. I think he's telling her the truth."

"[T]he relationship between Lo and Jen in Crouching Tiger, Hidden Dragon was an influence in the writer's room. We referenced that relationship over and over again. The intentional parallel is that they are equals and their relationship is earned through mutual vulnerability, not intimidation or manipulation."

However, someone can be themselves misled and so mislead you too, from a place of sincerity! That is, perhaps, the most heartbreaking way of all to mislead someone. Qimir is lost - the Jedi path damaged him and he (like so many Jedi before him) snapped to the Sith path. It's not working for him, it's causing him pain likely, but he believes it and shares from that place. But the moment Qimir sees this path is causing Osha pain, he feels compelled to do something to help her.

Once he gets the helmet off Osha, Qimir seems relieved when he learns the vision Osha *thinks* she saw, of Mae "killing a Jedi without a weapon." (Which Qimir somehow knows is the goal here - to get Mae or Osha to fall - presumably because Plagueis either gave him the vision or told him directly to try to get that to happen?)

He's content with the idea that Mae will be the one to do it, fulfilling the vision/directive, and actively seeks to make it happen from this point on. He tries to talk her up into doing it at the pivotal moment, but that's not what she's about, her feelings about Sol are not so out of balance for her to "fall" as the Jedi and Sith understand it. She feels anger but also wants justice most, not revenge.

I read disappointment in how Manny plays his reaction to Mae's "No" - disappointment at "failing" sure but also I think it's related to the fact that he wanted it to be Mae, not Osha.

This was cemented for me by the way he played Qimir's reaction to Osha's fall. He's not celebratory, though he's just accomplished what he had been trying to since he began teaching Mae! He seems stricken, actually. There's no pleasure or satisfaction in his "success"! Witnessing Osha's pain only makes him feel compassion and bow his head in sorrow. This "success" is ashes in his mouth.

As a mutual on Twitter pointed out to me (♥️_LokiDokie!), Leslye's commentary in this interview supports this reading of Qimir as grief-stricken by what he's seen:

"Then it's like this passing through, stepping over the threshold, that actually will bring them closer together, which is so interesting. But the motivation I gave to Manny in that moment — in theater, we would call it dramaturgically — for, “Why is he stepping over to do that,” because it said it in the script, was, “You have been in this position. If you have a red lightsaber, you have felt this level of despair, rage, and dejection. So go over there and let her know that you have had that experience.” And he just did that beautiful thing. I was like, “Jesus Christ.”"

His reaction is a stark contrast to Mae, who never fell to the dark side, and doesn't understand what she's seeing - she mistakes this for Osha being liberated from Jedi mindwashing. THIS is what Qimir's face would look like if he thought this was a good thing and was happy about it:

The contrast is quite stark.

Qimir's sorrow for Osha continues as he attempts to comfort her and then sees she's bled the saber.

Intriguingly, Qimir has the helmet on and is "hiding" emotionally when he wipes Mae's memory. We don't get to see how that pain effects him. But the pattern throughout the episode is that when Osha hurts he aches too.

In the final scene, Qimir approaches Osha, again, without triumph at any of this. He's gotten everything he thought he wanted, but he looks at her and I read concern, sorrow, wariness.

He steps closer to her and takes her hand supportively, continuing his pattern (3 times in this episode!) of physically coming close to help/comfort her when she's hurting.

Then he raises his chin with resolve, but no happiness. They are facing the future, but they are "doomed" on the Sith path. Romantic love cannot live there anymore than it can thrive on the arid, repressed Jedi path. I think he suspects that - whether or not he's knowingly in league with Plagueis. Whatever is coming, the Sith path can only cause Osha more and more pain...

He cannot help but ache with her when he sees Osha in pain and want to help her. I cannot imagine an s2 where they continue down the Sith path without him breaking under the strain of watching the pain it causes her - he could endure it himself but seeing her do it? He'll snap. And that romantic love--something BOTH the Jedi and Sith reject and denigrate--that will help them escape imo. Here's a quote from Leslye I interpret as supportive of this reading. She references how the Sith path is inimical to romantic love and then alludes to the tantalizing possibility of escape:

HEADLAND: Oh, yeah! Again, they’re Sith. It's a different vibe. To me, it's gonna hit different because of their allegiance and who they are. So, yes, it is framed as romantic, but I do think, again, it's not gonna turn out great. I think if he's training her, “One to hold the power, one to crave it.” So they're starting off as equals, but what's gonna happen? Like in Romeo and Juliet, it's amazing because right at the beginning they're like, “Okay, these two die. Let's start the play.” As you're watching this incredible love story unfold, and it's one of the most beautifully iconic plays ever written, in the back of your mind, you're like, “This is not going to turn out well.” I want to clarify: They are not necessarily doomed or destined to fail as a team. But the Sith rule of two denotes a power imbalance. Which clearly, due to the final shot, is not their relationship. Also, Plagueis complicates their journey as Sith, because we know his apprentice is eventually Palpatine. They will not defeat him.

I feel pretty confident that the love he feels for her is pivotal to their journey away from the Sith path and what Plagueis wants for Osha - both because Leslye knows this is not a good path and because of the deep sense of care and connection Qimir already feels for Osha.

Combine this with Leslye's comments and imo it being unlikely that they'll repeat the same pattern with Qimir & Vernestra that they did with Sol & Osha and just the overall "sameness" that would come of hammering the endless cycle in more and I just don't buy that as the direction we're headed.

It is possible to tell it as a relentless tragedy and keep hammering the endless, inescapable cycles but, while tragedies are valid (I enjoy hotd!), even they have a narrative form more varied than that usually. And this IS a "coming of age" psychological/mythic Star Wars story at the end of the day. And one Leslye (happily gay married with a child!) drew on her own experiences (with religious trauma) to write... she didn't end up trapped in darkness why would a young protagonist like Osha have to?

Here's the full Leslye quote about religious trauma, since I believe it's vital to understanding where she and the writing team are going to take Osha, Mae, and Qimir:

You have a play, Cult of Love, coming to Broadway this fall. It’s about a Christian family gathering for the holidays. It’s inspired by your own experiences with your family. You were working on it at the same time as The Acolyte, from what I can tell. Did they influence each other? Our director, Trip Cullman, and I were talking about how it’s called Cult of Love because all cults have a dream, and the dream is really beautiful. Even Jim Jones started out trying to desegregate Indianapolis. This family in the play has this dream that they follow to the logical conclusion, which is that they never achieve it. I was raised Christian. Christianity is the ultimate dream. It’s a beautiful concept that God becomes human in order to love you more. Then you look at what Christianity has done to the world: colonization, genocide. It was a beautiful dream that doesn’t justify the human action that comes along. The Jedi also live in a dream, a dream they believe everybody has. In The Acolyte, the pilot ends with the line “An acolyte kills the dream.” The drama is to wake up to the fact that the dream doesn’t exist.

I think the point is for Osha and Qimir to wake up to the fact that both the Jedi and Sith "dreams" do not exist. They are toxic mirrors of each other - and Osha and Mae were born into a culture (the culture of the Coven and their mothers) that didn't see the force in the binary way the Jedi&Sith both do. Mae, who remembered and kept to the pov of the Coven, never fell to the dark side in a Sith way --she felt anger but balanced with a desire for justice, even when she killed-- it was only her sister, taught repression and self-denial by the Jedi, who did. Qimir and Osha have a conceptual/spiritual escape route open to them if they wish to use it.

Finally, Leslye has said that she's written Qimir as her "shadow" (in the Jungian sense) and that she feels close to him - and what does he want? "I want freedom." I don't think someone driven by that desire is going to just surrender himself AND the woman he loves to Plagueis the Creeper.

My wife was like, “What do you want to say?” I was like, “I wanna say that people don't want me to exist as a gay woman, as a woman in this particular space, working in this wild sandbox.” There was a whole crew of people who believed in me, but deep down, I felt like, “I am unaccepted for who I am because of what I believe in and wanting to wield my power the way I'd like without having to answer to the legion of people that just exist out there.” By the way, I think everybody feels this way. I think that's why it resonates when you're honest about yourself, and you get personal about it. When he says, “I want freedom,” that's what I want. I just want freedom. I want to be able to just be out there and be myself and be the type of artist I want to be without having to answer to anybody. That's why I feel so close to him.