#Never Forgive Never Forget (villain verse)

[theuntamedangel]

The longer BNHA goes on, the more I start to ask this question.

Is this a story worth telling?

It brought up some interesting things to think about like what it really means to be a hero and if villains really are evil or people that society failed.

But then comes the muddled messages, characters that barely do anything significant other than to be plot devices, the overhyping of one character that ruins the purpose and development of the main character, and the inconsistencies and conclusions that characters come to that makes little to no sense.

Then you just have a story that just goes NOWHERE!

Because let's be honest, how much will society actually change by the end of it all? How will it treat quirkless and those with less than stellar quirks? And will they actually allow people like Bakugou to become heroes all because they "try really hard"?

Hi there, @theloganator101 First off, thank you for the question.

Also, TLDR.

Long before, I had made a somewhat similar post, talking about the same points. What makes a hero a hero? Because it's more than wearing a cape and punching issues and problems into submission. Bad guys simply go to jail and rot till their dying breath. And why is the world of BNHA so black and white? So 'this is good and this is bad'? We have a very compartmentalized version of human society. But you and I both know very well that human nature, human social interactions are the most complex and difficult things to understand. And even though I had seen these flaws in the series much earlier, I was still forgiving of the author because I genuinely thought he would eventually come around and explain why things are they way in the BNHA verse. But that NEVER happened at any point in the series so forget about Hori addressing these issues now because BNHA as a whole doesn't matter.

It's a no brainer to say that the job of a 'hero' is to save the day. But what about those who are the victims of school bullying? (cough cough BkDk is a totally normal and a healthy relationship, you're just a homophobe if you dont ship them) or those who had to keep their voice and entire existence heavily suppressed because your marriage was just a means to an end? (Endeavour is a loving husband, a doting father and a hard working hero) What about those kids who are victims of child abuse, child neglect and discrimination? (the Todoroki kids, Shigaraki, Toga and heck, even low key Spinner grew up in loving and healthy households). The Creature Rejection Clan was created to combat racism and All Might, someone who's name itself reduced crime in Japan by a half simply by existing, did NOTHING against the CRC. I thought 'heroes' were meant to protect the weak and deliver justice to the evil doers irrespective of who or what they are. I thought that's what's really meant to be a hero, to be defenders of mankind. Because lets face it, what's the difference between a villain who kills and a hero who abuses his family members on a physical, mental and an emotional level? What are the required criteria to judge these very two damnable actions with a bias attitude?

Which brings me to another question: Why are the students at UA high only taught martial or physical training? Don't they have special classes where they have to moral education classes or something along those line? Besides the rigorous physical training they need to fight against heroes, they have normal, regular-degular academic curriculum. These so called heroes-in-training are well educated in the art of understanding the topography of a battle field but the system has FAILED to educate the kids to understand why villains are the way they are. The entire system, the root itself, the very foundation of the hero society, FAILED to protect what they claimed to be. People like Toga, Dabi, Overhaul, Spinner, Shigaraki, Twice, Stain, Magne, are all nothing but the products of the hero society, the actual end result of this superficial, celebrity-like lifestyle of hero worship. But many fail to see beyond the stars and shimmers of this artificially constructed world.

The above points are heavily tied to Stain's ideologies. He didn't put up arms and struggles against the hero society for nothing. He knew what he was doing.

This may not be the answer that you're looking for but the way I see it, the MHA story shows us a horrifying representation of our already dark and twisted world but that's where it stops. It wants to do nothing with it because the story doesn't know where to go with it and how to go about doing it. It started something it couldn't finish. It created issues it couldn't solve. So the plot choose a different path to tread upon: focus on the popular people from the hero society who are highly questionable and romanticize their words and actions. It doesn't matter if you faced quirk discrimination or worse, became a butt of ridicule for not having any quirk at all. So long as a bully has given a half baked ''apology'' and works hard to be a hero to satisfy their own ego, it's all good at the end of the day. Self worth issues, self inflicted bodily harm, lack of self worth received by the victim (definitely NOT Izu because Bk treats him with utmost respect and comradery), all melt away due to the power of 'apology' and friendship. It teaches us that celebrity worship, fake sense of heroism, the desire to be the top at the expanse of others are to be treated with normalcy because the show must go on no matter what. The other message is that it's ok be a wife beater and a bully so long as you're doing it for heroism, name, fame, recognition.

Our priorities in the MHA universe are all messed up. We don't even have an inkling of a thought about how Izu feels about quirkless discrimination and the manga is wrapping itself up. So all the answers we can provide ourselves with regarding the matter will be head canon.That's why the main message of the story is that it fails on so many levels in terms of writing a morally upright story. The main hero of our story is nothing to offer, no words of hope and encouragement. That's the other message it has conveyed to us. I'm not saying this, the manga has proven to us time and again what i just said. The other thing it hammers home is the fact that, so long as you're a hero, your unjust behavior will be swept under the rug by your school and higher authorities. The message that MHA time and again conveys is that it loves hypocrisy and double standards. These are the solid reasons as to why the plot cannot logically and cohesively march forward.

"With great power comes with great responsibility" and the MHA verse failed to understand this concept by becoming the very thing the villains are condemned for in this series. That, my friend, is the general message of the story. That, my friend, is the moral lesson of the MHA verse.

#MHA critical thinking #bk is a bully #Izu deserved better #Izu is the protagonist not Bk #Izu matters Bk doesnt #Hori cant write shit

[thezoe611]

Have any of the Geronimo crew (and Tim) seeker therapy for the many…MANY…traumatizing events they’ve endured?

Oh yes, unfortunately yes. This is something I couldn't put in Unstoppable, so I'll write it now^^' (lots of text, sorry)

->Gosalyn, being the main victim of everything, would start going to therapy with one of the best doctors in S.H.U.S.H. Gryzlikoff made sure to do all the paperwork for the redhead (I didn't manage to fit it into the story either, but the bear is REALLY sorry for shooting her, so he plans to help Gos in any way she needs, even though the young woman doesn't blames him for what happened)

Although, well, more than "going to therapy," they "forced her to go to therapy." Gosalyn felt very uncomfortable, saying that she should just rest, but Drake told her NO. She went through a very bad experience that month, and she didn't have to be ashamed of being treated for it. Max agreed with him, as did Launchpad. Even Negaduck would have told her that going there shouldn't hurt her, since she is the one who always says that "you should go to the doctor for any blow".

Gosalyn would no longer feel nervous being next to Launchpad, but that wouldn't take away the pain and frustration she felt every time Nega-Launchpad hurt her with the bat. She would never forgive him for being a Launchpad. Furthermore, the redhead would begin to feel a slight "aversion" to whistles, especially the children's song "Simon says…". LHearing even the first verse of that song could give her a panic attack, remembering everything they forced her to do that time…

And the scar that was left on her right arm due to Ratigan's experimentation, so deep that her yellow plumage didn't completely cover it, and that was why the redhead would now wear a black sports sleeve. Although she mostly used it for Drake and Negaduck, aware that they felt terrible knowing that she had a scar.

Not to mention the existence of "Dark Orchid". She would want to forget everything about that identity that they forced her to take… The thing is that SHUSH still wouldn't tell her about the fact that someone stole the stored belongings related to that villain…

->Max would also have a change. He would begin taking first aid courses in his free time. Why? Because he realized that he needed to learn something so basic, and not just how to defend himself, like Negaduck has been teaching him. The point that made him realize that he needed to learn that was when he saw the villain calm Gosalyn during her panic attacks, which he didn't know exactly what to do at the time.

He loves Gosalyn, and he wants to help her. He wants to be there for her, both in her best moments and in her worst, and, to support her, he wants to learn how to calm someone with a panic attack, and these courses are the basis for that (although at first the young man wanted Negaduck to teach him… but imagining the villain teaching him something like that gave him chills, so he opted for the other option^^')

Drake, Launchpad, and Goofy would focus on supporting Gosalyn as much as they could.

->Drake was still upset with himself for everything he could have avoided if he had investigated more of Gosalyn's biological family, so he would want his daughter to get enough rest, and he would take some hero cases for that. The bad thing is that the redhead would still do some activities like Quiverwing Quack to distract herself, so he and LP would accompany her to keep her safe, ignoring the archer's complaints.

->Launchpad, no longer so afraid of scaring her because of his face, would just make sure not to make any sudden movements next to her, which would make his friend smile gratefully.

->Goofy would make sure to ask if Gosalyn needed anything, keeping an eye on his own movement, as he didn't want to push too hard or bother the young woman. Gosalyn would notice that, and, thanking him, she would tell him what dish she would like to try, making her father-in-law happy.

->Negaduck doesn't go to therapy. Rather, anyone who tries to do a session with him would either faint, run away crying, or if they says something shouldn't… well, you can imagine^^'

Of course, that wouldn't change the fact that he would have become even MORE overprotective. I wouldn't be surprised if he had threatened several villains not to dare carry out a robbery without his authorization, with the intention of allowing Gosalyn to rest.

Furthermore, he would make sure to check on Nega-Duckburg several times, to make sure that there really was no trace left of the Nega-McDuck and henchmen…

Plus, there was the matter of whether or not Nega-Morgana had actually survived the massacre 15 years ago…

He had to make sure, watch, and destroy anything that dared to hurt his Baby Girl. He wouldn't let that happen again, not again.

->Tim's case is more peculiar.

The boy has been through a lot in his six years due to Mortimer's teasing and abuse. That is why Gosalyn and Max would agree that the kid, after being adopted by them thanks to all the support that McDuck gave them, would attend some child therapy sessions.

The point is that the mouse wouldn't have collaborated much. He would have remained silent, looking at the drawings in the room, and the kind doctor would have asked him why he was not cooperating or responding. Tim would just say "I don't trust adults."

The physical and emotional abuse he suffered from his uncle really made him distrust most adults. The only reason he trusted Gos and Max is because he loves them, and therefore he decided to trust their family, although, if any adult made any sudden movement, the kid would be startled and go hide behind the redhead or Max.. The mouse adores his new parents, but is not ready to call them "mom" and "dad", even though he is aware that they now are.

And since the boy would not collaborate as much with the sessions, his parents wouldn't yet know that Tim was now afraid of heights, due to having fallen from McDuck Tower when Nega-Gizmoduck threw him, and when he almost fell from the enemy ship. if Gosalyn doesn't hold him in time.

Tim preferred not to confess that, aware that Gos was going through a delicate process. He preferred to sit next to her reading comics with Max, and endure the occasional hug from the redhead, who wanted to annoy him a little, making Max laugh.

The little mouse, who distrusts adults, has as his number one priority the redhead who became so precious to him.

[seraphic-sibyl]

Sic Semper Tyrannis (a c!Eret poem)

All hail to the King

(may good fortune await her)

Oh, favor our King, oh almighty Creator

To bless her with life, the same life that she gives

For the lives that she took are the ones that she lives

May God save the King; she was crowned in a tomb

Where iron-red hope stained the walls of the room

(Oh, dearly beloved, we’ve come here to mourn

A people who died for a dream never born.)

All hail to the King (do her subjects all hate her?)

Bow down to the King (‘least she’s not the dictator)

Oh, give her a crown and then force her to kneel

Trade iron for gold (hey, a deal was a deal)

Your crown forged from treason, your robe from regret

And your reign from our souls; did you think we’d forget?

Sic semper tyrannis, always some villain greater

All hail the King Pawn (and her manipulator)

Forgive me, Your Honor, the death-bell has rang

The jury votes split, but it’s your turn to hang

Her Highness the Headsman, slated for execution

Oh, pray for the King, that she finds absolution

A museum of guilt, and all hail the Curator

Pray tell me your story, oh fallen narrator

She’s original sin, a backstabber, that snake

All hail to the King and her greatest mistake

Oh King of the Turncoats, may you stand a bit straighter

Since you left your remorse, with your crown, in a crater

Oh, crown her, depose her, yet we still reinstate her:

All hail to the King

              (her Majesty the Traitor)

C!Eret Week Day 7: Forever/Free

For the last day of c!Eret week, I decided to do something a bit different and express my appreciation for my blorbo through verse. So I wrote y'all a poem inspired by and about c!Eret. I'm really proud of how it came out. Hope y'all enjoy my semi-deranged blorboem.

Anyway, I wanted to go off again, so here are some fun bits:

"Iron-red hope" was there because I wanted to push the idea that blood == hope. It's something that gives people life in a metaphorical way, and it was spilled and left behind, at least in part, in the Final Control Room.

"Trade iron for gold" is a double entendre: it could mean an unequal trade, or it could mean that Eret traded the rough scrappiness of L'Manbergian life for the gilded luxury of the kingship, or it could mean iron as in blood, which she traded for the golden crown. This also ties back into the iron-red hope line.

[asuraaa8]

Hey its Cora here it's my first post and idk how to use this app😭 anyways this is a SFW mha headcanon post I'm probably using this really badly idk how to tag or anything but enjoy (: it's based on the song "mom, im leaving" by MiatriSs.

To me, the song entitled "Mom, I'm leaving" (мам, я уеду) by MiatriSs, is about the todoroki family, specifically the broken, toxic family dynamics between Endeavor, touya and shoto. The first verse (Tell me how scary it is If a shadow wants light? Tell me how safe it is to follow your prohibitions?) Deacribes how Dabi feels that he is constantly treading on eggshells with endeavor and how he doesn't know what he should and shouldn't do because of his father's abuse, resulting in him leaving and having ongoing emotional and physical trauma from this. It could also describe how shoto got his scar on his eye. The line "if a shadow wants light" to me reflects the episode where endeavour is showing and telling touya about Hellflame and both Dabi and shoto feel pressured and forced to follow in their fathers footsteps to become the next heroes.

"I'm suffocating I'm choking on the awareness of being lost Every day" describes how dabi feels so lost and alone as a result of how his family is treating him. "Every day" things get worse for him to the point he feels as if he's choking and suffocating on his father's words to the point where he breaks. "In which I play the victim Surviving, but I know That change not far away" shows how he is just...surviving. at this point he's not living, only surviving. however, he feels that change is "not far away" and at this point in the song there is a major change In tone and the background music also changes from reflecting ebdeavors harsh words to a more dissociative, barely there background tune after the words "change is not far away". He at this point decided to join the league of villains.

"Mom, I will go to the heavens Above the world, to the clouds I will soar like a bird With wings fluttering the flames " the phrase "I will go to the heavens" reflects how he changes his name, his identity but never his hatred for his father. "With wings of flames" to me reflects the legend of Icarus, how he flew too close to the sun but also how endeavor almost "burnt off" his metaphorical wings with his abuse.

"Even if the edge of the Horizon is not visible now, but I believe" dabi believes, even though hope is "not (yet) visible". "I will try to build a New city, a new one" reflects how dabi is filled with sadness and anger at having his childhood taken away from him. He wants to go far away and forget his past. He wants to live a life where he is living for himself, not anyone else. He doesn't want the pressure of family hanging over him and haunting him, hence why he joins the LOV. That is his family now, not the toxic "family" he was born into.

The change of tone of the background music and Miia's voice at "mom I will go to the heavens" to me is about Dabi's dance (season 6, ep 11) where he confronts endeavor and shoto and faces his past. So scary for him, but he does it so well.

"What will I find? What am I looking for... So scary, BUT I don't care Forgive me That I was silent... The time has come Farewell, pier!" The song ends with dabi using a bottle of water to wash his hair dye out. <My name is touya todoroki>. His father is filled with sudden sadness now he suddenly realised how he's failed as a parent. He will never, ever make it up to dabi. Nothing he will ever do will make up for the pain he has put dabi through. And dabi will never forgive him.

"Forgive me, that I was silent" dabi is angry at himself too. He is finally speaking up, and whilst he was moved on in a physical sense (changed his name, appearance, family) he has not yet and never will move on mentally. He is not touya todoroki, he is dabi and his family is the league of villains.

(Not me crying whilst making this more than I ever have done in my life -_-)

EXCUSE THE SPELLING ERRORS GUYS

[servantofthefates]

Traditional Worship of the Old Gods

Coming from an unbroken line of pagans, I can’t help but laugh whenever anyone claims that worshipping the old gods is as easy as offering them a flower or leftover candies when it’s convenient. Being a child of extremely prideful beings is not some lighthearted, rainbows-and-butterflies hobby. It is a demanding but fulfilling way of life that requires volumes of books to convey. Still, here is a humble primer for the sincerest of beginners.

Apollo, Lord of Light

Approach him for the first time after you have gained a significant victory in life. Offer it to him. Your medal, your trophy or simply your pride in your triumph. But do not greet him empty-handed, or he will leave you in the middle of your prayer.

He does not tolerate self-pity, so never come to him with yours. As his child, you were born with the potential to become a champion. Honor him by harnessing it, not by doubting its existence.

Offer him a music box… jewelry… honey… anything gold or that makes a beautiful symphony.

Diana, Lady of the Hunt

Approach her for the first time on a full moon at the witching hour. Do not dare come to her with a problem. She hurts anyone who introduces themselves already seeking a favor. She finds it opportunistic and disrespectful.

She demands that you honor your masculinity and femininity. Attain physical strength. Learn how to defend yourself. Wear your hair down. Keep it long. Have thin, light fabrics in your wardrobe.

Offer her weapons. A dagger, a knife, a gun. You want her protection. So arm her.

Mercury, Lord of the Mind

Approach him for the first time with your favorite book. Something thought-provoking you have owned and loved since childhood. Transfer the ownership to him. That is your first offering.

As his child, you were born with the ability to think critically. You may speak to him freely of your emotional pain. But never of anything caused by your idiocy. Avoid such mistakes, or fix them before you speak to him again.

Offer him handwritten quotes from literature. He prefers ancient writings. Write letters to people you cannot reach, and implore him to send them for you through dreams.

Venus, Lady of Beauty

Approach her for the first time at your most attractive. Bathe. Wear your most glamorous attire. Paint your face. Do your hair. Wear jewelry. Bring her a freshly picked red rose and place it in a glass dome.

As her child, you cannot disrespect your natural beauty. Wearing colored contacts would be you complaining that she could have made your eyes prettier. Same goes for dyeing and perming your hair. Style it for an occasion, but otherwise wear it the way she gave it. No surgeries that are merely for the sake of vanity.

Offer her chocolates… perfume… anything luxurious or beautiful. She will protect your beauty, and give you even more.

Mars, Lord of the Battlefield

Approach him for the first time at a turbulent moment in your life. When you are battling an illness, poverty or villains. Give him a handwritten list of your ambitions.

As his child, you are not allowed to back down from a fight. He gave you the gift of drive and ambition. Apollo’s children are your leading rivals. He expects you to beat them.

Offer him steak or ribs you cooked yourself. They do not have to be beautifully presented. But use the best cuts only, and flavor them richly.

Jupiter, Lord of Abundance

Approach him for the first time after you have received a windfall. Winnings… a bonus… anything material. How ever much it is worth, give him ten percent, never to be spent.

As his child, you were born lucky. Money and happiness should come to you easily. You are to always count your blessings. That will make them multiply. But if you count your woes instead, he will also multiply them.

Offer him souvenirs from your travel. For that is how he wants his children to spend his gifts – on exploration and vacation.

Saturn, Lord of Earth

Approach him for the first time after a day of hard work. Recount to him all you have done in life and all you are still planning to do. He despises flattery but admires dedication.

As his child, your honest efforts will always be rewarded. Laziness will be punished. You are to take great care of your health, your possessions, your property. You must honor the physical and the material, for they are his domain.

Of all the gods, Saturn is the one who watches his children all the time. Your deeds and words, when matching, are counted as your offering.

Uranus, Lord of Chaos

Approach him for the first time after you have had a vivid dream or a waking vision. That lets him know you are indeed his to nurture. Otherwise, he will not accept your invitation.

As his child, you are not allowed to be normal. You are required to disrupt your community and society. Not with devilry, but with inventions, acts or words that are revolutionary. Declare to the world that you are psychic. If you hide his supernatural gifts, he will take them back and forever turn his back.

Offer him tokens. Anything unique, bizarre or strange. As long as it is priceless to you. Never offer him anything of no intellectual, creative or occult value.

Neptune, Lord of Mysticism

Approach him for the first time at your weakest. He loves comforting his children. Offer him your tears, so he knows you really need him. Tell him of your pains, and he will heal them.

As his child, you are not allowed to shy away from his supernatural gifts. He gave you the Sight so you can embrace the otherworldly. If you run away from your visions and premonitions, he will take them away… likely along with your sanity.

Offer him your own prose and verse. Stories and poems birthed by your imagination. Tell him of your psychic experiences and your desire for mystical intelligence.

Pluto, Lord of Death

Approach him for the first time when you have been wronged by someone you could not possibly avenge yourself from. Beg him for retribution. Come to him shaking with rage. Anything less will be ignored.

As his child, you were born with power. Power to control this world, and the one beneath it. The dark arts are as natural to you as breathing. Fully embrace them. So long as he feels your hunger for the occult, he will help you master it.

Offer him a list of your enemies, old and new. Never forgive and forget. Show him you crave his vengeance and protection. Place a black mirror on his altar. So that when you pray to him, he can see you, and you can see him.

[hamliet]

What Does It Mean to Save?

I keep seeing it said that Deku, Ochaco, and Shouto will “save” Shigaraki, Himiko, and Dabi, but that there will be no redemption and/or no survival for them. I’m truly not trying to vague these posts and everyone is entitled to their opinion, but literary criticism is fundamentally responsive so I’m writing this anyways.

I personally think that’s not BNHA’s definition of saving nor of redemption. So here, have a deep dive into literary tropes related to redemption, genre, and character arcs as they pertain to BNHA and the question of: what does it mean to save Shigaraki, Touya, and Himiko?

Before we begin, let me say that while we might be personally uncomfortable with redemption (there’s a redemption arc in BNHA I am personally quite uncomfortable with), that doesn’t inherently mean the narrative won’t go there. The key principle I’m operating on here is BNHA’s message that heroes save people. It’s held up as the highest ideal. 

So let’s talk redemption in BNHA-verse. With this guy, whose redemption arc I dislike in principle but accept as part of the story so don’t come for me stans and/or antis. I’m analyzing because it shows us what redemption means in BNHA-verse, whether or not that is satisfying to you personally as it fits/does not fit with your own morality/philosophy.

If Endeavor can be redeemed and live, and he’s Bakugou’s negative foil, I highly doubt Shigaraki and Deku as well as Touya and Shouto and Ochaco and Himiko will be any different. Why? Because Enji is an adult character. The others--well, Himiko’s age we don’t know, but we do know that Shigaraki and Dabi are technically adults. But does the story consider them adults?

(It doesn’t.)

Child-coded characters are generally more likely to survive a redemption, which I’ll explain more later. First I have to define what I mean by child-coding, because I DO NOT mean this in the way it’s often (mis)used in fandom wank. Child-coding is a real thing, but it is not done to infantilize and it has nothing to do with shipping.

Child coding frames the character as a child for a few narrative purposes to convey a story’s theme or purpose. For example, if it’s a coming of age story coding a character as a child even if they legally are not emphasizes their journey to an understanding of self-actualization, or a true understanding of self with self-awareness and an understanding of self-value. An example of an adult coded as a child is The Kite Runner, wherein Amir is a legal adult for half the story, even married for fifteen years so we’re talking 30s-40s, but he does not truly become an adult until he returns to his homeland and takes responsibility for a childhood sin. In Attack on Titan, the main characters are now nineteen, but are still struggling to take responsibility as adults and have only started doing so now that their mentors/parental figures have started dying.

Along those lines, in any kind of story, you can code a character as a child of someone, regardless of biological relationship, to convey the type of relationship they have (usually a mentor one). For an example of this, see Bungo Stray Dogs’ Dazai and Akutagawa. Despite their two year age difference, Dazai recruited him to the mafia, abandoned him, and Akutagawa desperately seeks his approval. Usually in these stories a character will “overcome” their parental figure. This can be done through overcoming their need for the parental figure’s approval in stories where the parental figure is kindly (such as in Harry Potter, when in the final book Harry, Ron, and Hermione leave the Weasleys to find the Horcruxes despite Mrs. Weasley’s please) or through like, killing/stopping/leaving the parental figure when they are abusive (see fairy tales like Rapunzel and Cinderella). The parental link to self-actualization is because it is childlike (and a part of actual psychology that is reflected in literature) to see yourself as a part of your parent; self-actualized person would see yourself as a distinct person from your parent, but also acknowledge the ways in which they’ve shaped you.

So, how do you code a character as a child? BNHA isn’t subtle about it, because Horikoshi seldom is subtle about anything. The villain trio are all coded as children.

Shigaraki Tomura:

Who cannot achieve self-actualization so long as AFO has access to his body, as he’s literally trying to possess him. He’s trying, but it’s not gonna work because Shigaraki can’t keep AFO and become an adult at the same time. It’s a choice the narrative is setting up: your dream of destroying, or your freedom? (To get the latter, he’ll probably have to destroy AFO).

Todoroki Touya, who is repeatedly emphasized as a small child when compared to his siblings, and yes, I know he’s now tall. Specifically he’s spotlighted as the child of Endeavor:

And he’s the least self-actualized one in a lot of ways, contradicting himself constantly. I’m not Endeavor, DUH! But these are Endeavor’s flames! He’s gonna have to choose one or the other, because the tragic irony is that the more he takes out his rage on those around him, the more like Endeavor he becomes.

And Toga Himiko (who might well literally be a legal child), who is actually the most self-actualized one thus far, because she rejects Curious’s child insistence (Curious holds her in a Pieta pose, based on Michelangelo’s statue wherein Mary holds a deceased Christ):

She’s still got, like, a way to go though:

Because Himiko also wants to be like the people she loves to the point where she loses her own identity in them, which is er, not self-actualization. So she’ll have to choose whether or not she really wants to be like the people she loves or whether she wants to live her own way, which she herself tells us how that would end (death):

Deku said it himself: it’s good to focus on what someone is doing now. And look, I have issues with this statement and how it’s framed. I’ve talked about it at length and it was doomed to fail because Shouto himself told us long ago that it was annoying to hear a righteous speech by a stranger when you hadn’t gone through the same, plus Endeavor kinda failed by choosing being a hero over a dad here. But, the principle is that if the past doesn’t preclude Endeavor from seeking a better self, why would it preclude three characters coded as children, one of whom is literally somewhat the product of Endeavor’s sins? BNHA doesn’t think the past keeps someone from a better future. 

So what about Dabi’s counterpoint, which is indeed valid? Well, redemption doesn’t mean the past forgets, either. It’s complicated and nuanced, and we can debate how well Horikoshi strikes this nuance (it’s got its flaws), and admittedly I don’t know how this will go down in the future. But it is asking Endeavor: how do you redeem yourself to the people you’ve hurt? And we have Endeavor asking this question to Touya’s shrine. I mean, the foreshadowing is obvious. Endeavor has to redeem himself by trying to save Touya. However, it will still probably come down to Shouto to save Touya.

For our three villains, it’s a little harder to predict... well, sort of. For Shigaraki it’s extremely obvious: he has to help take down AFO. Dabi probably has to do something to help his family (siblings probably), but it’s vague. Toga needs help and not condemnation, but presumably she’ll help Ochaco with something.

So, is this redemption? I’d define it as redemption in the eyes of the narrative. To address what makes a redemption is another essay unto itself, but if we bring in the oft-compared Star Wars example: did Darth Vader get a redemption? Did Ben Solo? Everyone says yes to both. However, only Luke witnesses Vader’s redemption, and only Rey Ben Solo’s. So the rest of the galaxy? Doesn’t think so. When I say they’ll be redeemed, I’m defining it as their role in the eyes of the narrative, not whether or not society will accept them or even whether their victims will forgive them (of note, in canonical novels, Leia never forgave Darth Vader despite learning he was her father and obviously knowing Luke’s account of his redemption was true).

So, redemption in a narrative doesn’t mean all of society has to forgive and accept them. Dabi has still like, murdered 30 people--many of whom were thugs, but he himself acknowledges they didn’t deserve to die. Additionally, he himself also acknowledges that the families left behind--their feelings matter:

But why does that mean they have to die? Why even does it mean they have to languish in prison forever? (If there’s even a safe prison at the end of BNHA which I kinda have doubts about.) Heroes have also killed: see Hawks as Exhibit A. In fact, some people want revenge on the heroes precisely because they arrested or killed their loved ones (jail isn’t held up as a rehabilitative place in BNHA’s world. In most countries it isn’t in real life, either, but again that’s for another essay). So why don’t the League’s feelings on Twice’s death matter just as much as the feelings of unnamed and unseen (and thereby less important narratively) characters?

Additionally, regarding death... the villains routinely get called on their death wishes. Himiko’s determination to decide how/when she dies is called out because this is right  before Twice overcomes his trauma to save her, and the next arc they appear in is when Twice dies trying to save her again. Dabi’s suicide wish keeps him from getting close to others, and it keeps getting thwarted. Shigaraki’s obsession with destruction and death is clearly not a good thing, and his rejection of his family’s desire for them to join him in death this past arc is growth.

In other words: what Dabi said and what Snatch said about families and how they feel matter for the villains too. The villains are their own weird found family (Dabi as the deadbeat prodigal brother of both his families). Their deaths--Magne’s and Twice’s thus far, and I’m not ruling out further deaths in the future--affect the others. People’s feelings on losing loved ones matter. The villains are people, as Himiko said herself this arc:

Their feelings about each other matter:

How would Touya dying affect the Todorokis? At least they saved him spiritually, I guess, but that’s absolutely lame narratively, and if you have Enji eventually do a sacrifice to save Dabi (pretty likely, even if I personally think Enji will survive said sacrifice) then what’s the point of Dabi dying? How would Himiko dying affect society? As a martyr like Curious wanted her to be, even a redeemed one? A tragic warning story? What even is the point of Ochaco saving her if that’s the case? If Shigaraki dies, well, who would mourn besides Deku? How would Shigaraki dying affect the surviving members of the league? He just couldn’t be saved physically? 

It’s not impossible some of this happens, but it doesn’t seem like great writing, especially with panels like, oh, these that show us BNHA’s perspective on death:

Sacrificing something is a type of death that occurs in stories; this should happen in a redemption arc, which is why I’ve been saying Enji needs to sacrifice his hero reputation to help save Touya and even then it’ll still be Shouto imo who does the saving. But physical death?

If you want further analysis of the latter two panels and how they relate to the ending, see here.

We already have another villain who will definitely die redemptively (Kurogiri--an adult coded character--because he’s already, like, dead), and Spinner and Mr. Compress aren’t coded as kids so I hold them with anxiety towards the end. But again, this isn’t me being ageist or saying this is the way things ought to be in fiction or real life: it’s me looking at writing tropes and saying that child-coded characters tend to survive their redemptions. See: Zuko. Why? Because the death of children or child-coded characters is a tragedy. When a child-coded character dies redemptively it doesn’t feel like a happy ending and if framed as such, it’s often criticized for bad writing (see: Ben Solo). Curious even called this out in her fight with Himiko. I would hope Horikoshi doesn’t end the story being like yeah Curious was right that’s the best use of Himiko’s/Dabi’s/Shigaraki’s arcs:

Additionally, as for the believability of a character getting a new chance after so much destruction and murder... well, it’s kinda a thing in shonen and even in seinen? For better or for worse, it’s a thing. We have Vegeta in Dragon Ball Z and Kaneki Ken in Tokyo Ghoul (Kaneki, by the way, is absolutely an inspiration for Shigaraki). We can debate how well-written these redemptions are (I personally have been quite critical of Kaneki’s despite wanting it to happen narratively), but it can be done. BNHA’s Japan especially isn’t as harsh a world as Tokyo Ghoul’s Japan, so it would make even more sense for something like Kaneki’s ending.

The reality is that the cycle of revenge via hurting people and then leaving hurting families and loved ones has to stop somewhere. Someone has to be the bigger person and step up and be like “naw.” That’s heroic. That’s brave. That’s sacrificial itself. Justice itself doesn’t really exist in its purest form without mercy.

There’s another genre-reason I don’t see death or jail as likely (I could see, like, maybe a mental health ward like Rei’s? But it’s too soon to speculate).

If saving is considered a good thing for the story, if it’s truly the highest ideal, then saving someone should be rewarded by the narrative. The characters who save should have a positive result to show us this a good thing.

This is why it doesn’t work for the heroes’ end journey to be accepting that some people cannot be saved. The notion of just accepting that you cannot do something, you cannot save everyone, you cannot, cannot, cannot, is called out as a flaw of society. Determination, on the other hand, is rewarded.

We see it with Deku as well as with Mirio.

So, what if they save them and the redeemed characters then go on to sacrifice themselves in their redemption and die (come to the same end)? If saving changes absolutely nothing for the saved person, if it’s too late for the saved from themselves to change and/or do anything that matters besides die, then the narrative theme of saving as important is left unemphasized at best and undermined at worst. Simple intrinsic knowledge that the kids “did the right thing” doesn’t cut it for a story with so much focus on physical saving when the kids are already doing the right thing; moral struggles about whether to choose to be good aren’t really Deku, Ochaco, or Shouto’s arcs. It works for Aizawa’s arc with Kurogiri, but not for the kiddos. If BNHA was more of a philosophical/spiritual text, that would indeed make sense, but it is not. Genre-wise, BNHA is a fantastical superhero optimistic story, not a gritty real-world set drama.

[poisonousquinzel]

https://lady-ha-ha.tumblr.com/post/160715688748/is-that-comic-before-the-reboot-and-which-one-is

(I have not read this comic) Is this true? (if so, ivy deserves someone better).

Post

Kay, first off both of those people are Jarley shippers so take everything they say with a grain of salt and then some, cause no. that part isn't about how much Harley loves Joker and will always choose him over Ivy. Literally you can tell ops don't know what they're talking about cause her whole thing in those issues is going to kill him for years of graphic abuse but ultimately falls back with him once she’s face to face with him.

Like wow, congrats on missing the fucking point again but not surprised from people who ship her with The Fucking Joker.

also, ffs, can anyone please have basic comprehension skills and realize that Harley and Ivy are both fucked up sometimes because they’ve got issues and that’s not comparable to Joker’s long ass history of graphic and disgusting abuse.

Harley and Ivy are villains, they're not a wholesome cookie cutter, White Picket Fence, super vanilla ship with no bad moments. They're both bad guys with a fuck ton of trauma that they both have to work through, and have done so at this point. 

Gotham City Sirens was published between 2009 - 2011, Harley and Ivy weren't blatantly romantic at this point nor had they had anywhere near the development that they’ve had at this point.

Like don’t go into Harlivy content expecting them to be the perfect wlw rep with no flaws during their arcs from BTAS to current time cause that’s just not realistic. They’re both deeply flawed people who’ve got a fuck ton of trauma that they need to (and have) worked through. 

I have talked about the BTAS issues here and this post is good at explaining them too. 

X

X

Harlivy is not and has never been a purely wholesome, goody-goody ship. They’re messy, they have issues, and they have bad moments sometimes, but they both worked through their seperate trauma and came out stronger and better because at the end of the day, they care about each other. 

Harlivy has messy, toxic moments sometimes, but they’re not, and have never been, abusive. There’s a difference between unhealthy moments and a ship being abusive. 

That’s completely different to how Joker acts Constantly, because he does not care that his actions towards Harley are abusive, because he doesn’t give a shit about her. 

He enjoys hurting her. He enjoys ruining her. 

Jarley has always been intended to be written and shown as a domestically abusive relationship.

This is also the first instance where it's directly referenced that there's something more than platonic between her and Ivy, other than the reference in Batgirl Adventures. 

Gotham City Sirens is also not connected to any verses.

This didn’t happen in the timeline we’re in rn with Harley Quinn (2014)/(2016)/(2021).

Comic timelines and shit are stupid and make everything more confusing and awful and I hate it sdfjdksksdkjsd

-

this is gonna be a long post since ops wanna just cut and paste random bits of the issues like jarley stans always do (cause jarley never has good moments that aren’t entirely surrounded by him abusing her) I’m going to show them in full context. *added a keep reading cause it is a lot

(All panels shown are from #15, #18, #19, #20, #21, #23, #24, #25)

So, Harley's entire thing at this point in the GCS comic in that she's been triggered by flashbacks of Joker's abuse and she breaks into Arkham with the intent to kill him.

The entire thing in these issues is showing her smarts and how she knows people's trump cards to get under their skin so she can break into Arkham. 

She’s trained to identify these things in people and she's fucking good at pushing people's buttons. 

this is also just one of my fav Harley covers so I wanted to show it jsdjksdks

“Trump cards. Everyone has one. Places where the armor we build around ourselves is weakest.” 

She’s right. And it’s now shown that Harley’s willing to use those below the belt trump cards if she has to.  

And frankly, I’d say this is worse than what she says to Ivy. And I’m not surprised she did it. She didn’t want to, she tried to get him to just open the door - 

“Don’t make me do this, Aaron. There are some secrets that should stay hidden. Things you should never learn about your own life.” 

but she’s also entirely fueled by rage and the desire to kill Joker. She came here for a reason and she’s not leaving until she’s done it.

“I’m going to kill you. For everything you’ve done to me. All the times you’ve made me feel useless and small. For all the times I will never forget. For all the things I can never forgive. All the memories -”

“Hello, Harley. I’ve missed you.” 

“Memories. That’s all I have left. The past is gone and all I have is... memories. 

Memories.

Memory. 

Gone.

I guess I too have a trump card.”

“Oh, Ivy. You know exactly what my answer is going to be. But you’re hoping you’re wrong, aren’t you?”

She’s also right about this, they already mentioned this in #18.

“How did I become the bad guy?”

“You’re the one choosing a man over her girls.”

“Are you kidding me? You would never say that to Harley, and we both know she’d dumb us in a flat second if Joker called her.”

“Hey! That’s not fair-- Actually, that’s probably true.”

“The difference is, she can’t help it. You can. And she’s working on it. You’re not working on it.” 

“Too easy, Ivy. Too easy. I know your weak spots. Now I just need to push.”

This is exactly what she’s been doing since the starting point of this post. She’s still in that mindset and she knows she can’t beat her on a regular battle field. Neither of them can. 

“Like I said-- You beat me in any level playing field. But I don’t fight on those fields.” 

Harley’s biggest strength as a villain is her ability to completely mentally stall her opponents and learn their weak spots. She wouldn’t win against the majority of the Big Bads if she didn’t fight on a different field than they are. 

so, like yeah, out of context what she says to Ivy seems awful and completely screwed up, and it is, but it’s also built up really well and it’s completely in character for her at this point in her fall during these issues. 

Is what she did fucked? absolutely. It’s not painted that it’s not. 

Ivy Literally Goes To Kill Her For It.

In the end of this all three of them are recaptured by Catwoman and Batman and that’s where we’re starting off at again. 

“Oh, Harley.

The only human I’ve ever called a friend.

To what lengths will I go? Where are my own limits? She is the Strangler fig. And I am the tree, choking underneath. 

Without me, she could never grow. 

But without her, I would fall if I grew too tall.” 

“Will she ever stand by herself? 

Will she ever be ready? 

She is in throes of madness. She sees him, her brain flooding with adrenaline, it makes her excited, nervous, then the feelings start to fade, and she needs more. And more. 

She sees it as passion. She sees it as love. 

But it’s not. It’s addiction. And she’s relapsing.” 

Ivy is well aware of the nature of their relationship. She’s not stupid and she’s been shown already to know that it’s something that takes time. It’s not a one off break up and it’s over. That’s not how abusve relationships work. 

What do I do?

I could use my pheromones to alter her brain chemistry.

I could leave her behind abandoning her to the wilds of her own mind.

I could kill her right now.

Show her how red Nature can be.

There's one other option.

It would require patience.

Even love.

Maybe I'm more human than I want to admit.

"You have one chance to answer this."

I know, if she agrees, she'll be doing it for revenge. For him.

"She put us behind bars."

But maybe if I get away from this place, if I give her something else to think about. Maybe she can break the cycle. But it has to be her choice.

"I'm going to kill her. Come with me."

So yeah, it’s definitely not a just “Harley hurts her and runs off with Joker and it’s just a plain ol’ her choosing him over everyone and that’s that.” 

Jarley shippers love to just reduce all her scenes and arcs down to their “epic love” and shit, but that’s taking away literally everything about her and reducing it down to the 3 panels that they’re “cute” in. Her arc in this part is fucking heartbreaking to read.

And Ivy damn well knows what’s going on with her. She’s smart and she’s the one that’s been there throughout all of this. She found her in the park after he shot her out of a rocket. 

And she knows it’ll take time for Harley to get over and through his manipulation, that’s just how it works with abusive relationships. 

But she’s also not forgiving at first, she’s mad and rightfully so, until she sees the sate of Harley’s cell and realizes how bad her addiction is at that time.

A lot of the unhealthy moments on Harley’s side when it comes to them are directly caused from the effects of being in an abusive relationship with Joker. Because she’s always in this area of her journey in those moments. She’s never fully over him or emancipated. 

And that’s realistic. It’s hard sometimes to be friends with someone who’s in abusive relationships like theirs, having to watch them return to that person time and time again and it’s frustrating after a while. 

I know from personal experience, it’s really hard to watch someone you care about go back or forgive someone that continues to hurt them. 

But abuse victims desperately need a support system outside of their abuser. It’s a crucial part of being able to escape, because when they do try to get out they need someone there or they’ll literally have no where to go but back into their abuser’s arms.

It’s heartbreaking and it’s really rough for everyone effected, but that’s just how it is most of the time. Especially in their case, as they’re not just regular folk dealing with this. 

If she doesn’t have Ivy, Harley has no one else to go to but Joker, on more than just an emotional level. 

She’s lost her job. Her income. Her home. Her livelihood. Her everything.

Most of the time she has no other choice but to return to a life of crime after she’s released from Arkham because she can’t get a job, she’s a notorious criminal and she’s got a lot of issues that don’t just disappear with a bit of therapy. 

She has no other choice but to return to Joker because the other alternative is the streets. At least she knows what to expect with him. 

And that’s not even getting into the manipulation, gaslighting and degrading abuse that he drills into her constantly. 

He’s made her believe she’s not anything without him. That she’s not smart or useful or anything. 

And that’s why it’s so damn important for her to have a support system and why he’s so damn against Ivy. 

Because Ivy is the good voice on her shoulder telling her he’s wrong and that she doesn’t deserve that. 

-

And on Ivy’s side, she’s aware she gets very near cutting off all parts of her humanity. 

She’s a plant goddess, she’s insanely powerful and she feels everything through the green. Frankly, she’s not even on the same playing field as these villains. She’s significanty more powerful than Harley and Joker. 

Her connection to Harley is what keeps her humanity in tack, because despite everything, she does care about her. She was the first person she let in, the first person Ivy called a friend. 

The person that was able to get through to her in #14/#15 when she was losing herself. The one that was able to get through to her that the dude was manipulating her. 

“Ivy, I know you think you love this guy... but you’re just gonna end up strapped to his rocket!”

She had to knock her out for the dude to trust her / not attack them anymore. But Harley got through to her by mentioning how they first met in the park when she saved her after Joker shot her off in a rocket.

And Ivy is understandable turned off towards humans considering her origin and trauma around that. 

She’s got a lot of trust issues.

But both of them work through their seperate traumas over the years because their affection for each other is stronger than the issues their trauma has given them.

-

and also, sometimes, they just have shit writers. that’s an issue overall in comic fandoms. Some writers just fucking suck at getting any of the characters right, let alone LGBT characters, who’re notoriously treated like garbage by DC. 

[liziocit]

I posted 2,839 times in 2022

That's 2,492 more posts than 2021!

88 posts created (3%)

2,751 posts reblogged (97%)

Blogs I reblogged the most:

@anjimimimoo

@mondengel

@eugenephosgene

@grewlikefancyflowers

@weaver-z

I tagged 1,222 of my posts in 2022

#mdzs - 545 posts

#wei wuxian - 339 posts

#art - 244 posts

#lan wangji - 214 posts

#wangxian - 168 posts

#jiang cheng - 43 posts

#tgcf - 33 posts

#wen ning - 28 posts

#lan sizhui - 25 posts

#canon jiang cheng - 20 posts

Longest Tag: 139 characters

#jugemu jugemu go-kō-no-surikire kaijari-suigyo no suigyō-matsu unrai-matsu fūrai-matsu kū-neru tokoro ni sumu tokoro yaburakōji no burakōji

My Top Posts in 2022:

#5

"Ning-shushu, have I done it right?" Lan Sizhui asked, sceptical.

He was drawing and labelling the human body. Ning-shushu said that knowing the anatomy of the body was one of the foundations of healing.

It wasn't perfect but it was better than it looked before, when he had just told Wen Ning he wanted to learn the methods of the healing Wen.

At the time, Wen Ning had been stunned to silence while his eyes were open without any blinking for some time. He wasn't so well versed with his uncle's tells at the time but right now he knew that Wen Ning had felt like crying.

From that time onwards, Lan Sizhui would sneak off to Wen Ning's residence and learn about healing.

"It looks good, you remind me of my jie actually,"

"Really? How come?"

Wen Ning smiled slightly and said,"She used to draw her bones the same way you do, curved slightly but very precise,"

Lan Sizhui blushed, it was high praise when you're compared to the best doctor of a generation.

Wen Ning took out a diagram he had done specifically for the day, it was the ribcage drawn by Senior Wei. Senior Wei was the one who encouraged these lessons in the first place too, Hanguang-Jun as well. He gave resources from the Lan library and Senior Wei made some of their lesson materials like the diagrams and practical structures.

He could see why they did.

Overall, these lessons were both educational and personal to him. He was reconnecting with his heritage as a Wen and also spending more quality time with his uncle.

Lan Sizhui was glad.

72 notes - Posted March 19, 2022

#4

Allow me to introduce you to the deadliest smiles in the world.

how does being killed feel like?

73 notes - Posted June 10, 2022

#3

Just saw this weird ass relatable take:

This is why he’s my favourite character because he’s so relatable. I would also want to choke anyone if my parents died. I would go crazy and nuts with grief and would vow revenge and hatred forever if my sister died. I would forgive and forget eventually, after many, many years. I’d sacrifice myself for a loved one and never tell a soul. I would not give a damn about anyone else, family comes first. My justice and my needs above everything. So yeah, Jiang Cheng, not a hero, not a villain.

Um... Idk how to say this but choking someone isn't a good thing? Nor is it necessarily something to be like I would totally do that. Even if your parents died.

And Jiang Cheng legit killed Wei Wuxian after his sister gave her life for him why does he need to revenge? If anything it just shows how much he doesn't really respect her and shows no regard for her wishes. Since this isn't a good reason, give me another. Lets see: his overwhelming jealousy, his inferiority complex, the "favour" his father bestowed upon him, Wei Wuxian "ruining" Yunmeng Jiang's reputation, him "making" his parents die? If these are all your reasons, then there's no good basis for revenge.

And as for the crazy, do you really want to start torturing people that you think are your dead ex-shixiong for no other reason than you want to let all your anger and grief out? Because if that's true, then go get therapy. It might work wonders for your life.

Aside from that, I have never seen him have such morals unless you're talking about Wei Wuxian then I'd get you. But... Jiang Cheng? The brat who takes after his mother in parenting and basically makes a kid almost die because he doesn't know how to love and care healthily and doesn't bother learning? Jiang Cheng who looks at a cute kid and firstly thinks of kicking him off his leg because of his blood and surname? The guy who looks at a bunch of elderly and innocents and his first thought is : who cares if they die?

This is the guy you feel is relatable to you? I see...

Also, 'My justice and my needs above everything.'- there is no justice in Jiang Cheng, only his needs and perhaps some care for his nephew. And even then, why do you write this so proudly ? You sound somewhat self-centred and quite delusional in your wrong take of Jiang Cheng.

But you are right.

Jiang Cheng isn't a hero nor a villain. He's just a hateful brat who needs a major reality check. It's a trait he inherited from his mother.

77 notes - Posted January 8, 2022

#2

So me and @jiaoji2 were talking and we had this funny hc where if maybe half of what lwj did was found out by gusu lan, he'd be known as the bad boy of Gusu Lan.

Cos to them this is the guy who finds loopholes in rules, uses them with no shame, raised the ylz's kid, uses the ylz's tools, doesnt even try to respect a major sect leader he has a ton of justifiable beef with and also came back with the ylz, who was prolly the most supreme bad boy there was at the time, as his husband.

90 notes - Posted June 16, 2022

My #1 post of 2022

There are so many headcanons I have for post canon mdzs. And I just want to share some of the ones I really like for the junior quartet:

Jin Ling learning how to cook his mother's soup with Wei Wuxian teaching him.

Lan Sizhui gets to learn the healing cultivation of his side of the Wen clan and Wen Ning helps him.

The junior quartet picks up on Wei Wuxian and Lan Wangji's ways of night-hunting and also goes where the chaos is. They each get their own title and their seniors are so proud of them.

Lan Sizhui calls Wei Wuxian baba at least once and gets all blushy over it but once he does it, he forgets to stop and he always calls him baba in private and Wei-qianbei in public.

Lan Jingyi simps for Wei Wuxian just as much as he does for Hanguang-jun and Wei Wuxian thinks its so cute. While Lan Wangji feels like it is right since more people should see how amazing Wei Wuxian is.

Ouyang Zizhen ropes the whole quartet into loving romance novels. They hold a book club meeting every friday and they just gush about their favourite scenes, the characters they love the most. They also gush about Wangxian.

Wangxian is the standard for romantic relationships in the junior quartet's eyes.

271 notes - Posted April 6, 2022

Get your Tumblr 2022 Year in Review →

[heroesoftheirownstories]

»  About : Gold Arm (Leaguer verse)  «

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Profile

Name: ゴールドアーム (Gold Arm) Model type: Baseball Leaguer Team: Dark Height: 2.05m / 6.7 ft Eyes: Green Attitudinal Psyche: VELF Enneagram: Unknown (tba)

✰ ✰ ✰ ✰ ✰ ✰ ✰

Description

Gold Arm is the first built out of a set of three specially designed leaguers under the banner of Dark Sports Foundation, trained to play rough and win at all costs. Though able to play several sports, his specialty is in baseball, where he is a deadly pitcher who can knock out any leaguer who hits one of his balls, easily winning any game.

Despite his arrogant and initially villainous nature, he is a good team player and has always possessed great loyalty towards his two brothers, valuing them above all else and finding greater power through the strength of their bond. He gains additional character growth through interactions with the heroic Silver Castle, inspired by their determination in the face of overwhelming odds. Even after losing to them, he learns to simply appreciate a game well-played, and shows a surprising maturity and gentleness belied by his hot-headed bravado.

Dark Sports is not so forgiving of losses, and condemns Gold Arm and his brothers to “forced retirement”—namely wiping their memories before sending them away to war over resources on foreign planets. Silver Castle members rescue them, and they abandon Dark to train on their own, now with a full commitment to playing fair, and they aid their now-friendly rivals several times over the course of their adventures.

They eventually rejoin Dark out of desperation to play against Silver Castle in the championships, but never return to their old dirty playing style, and are happy to keep participating in exciting games as fairness becomes the norm.

                                      ∽∽∽∽∽∽∽

»  About : Goldfist (Transformers verse)  «

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Profile

Designation: Goldfist Species: Cybertronian Alt mode: Armored sportscar Plating: Red with gold accents Optics: Green Height: 6.2m / 20 ft Attitudinal Psyche: VELF Enneagram: Unknown (tba)

✰ ✰ ✰ ✰ ✰ ✰ ✰

Description

Forged among the lower castes, Goldfist is brought into contract as a gladiator from a young age, where he makes a name for himself through his innate strength and determined personality, as well as his powerful coordination with his two spark brothers—the result of an abnormally large and unstable spark that split three ways after emerging from the Well. Often fighting together as a single unit, the bond between them makes them a force to be reckoned with. Goldfist is the most mature of the three, though no less capable of acting with audacious passion.

They join the Decepticon movement as it becomes established, where they remain for a considerable portion of the war, but eventually internal corruption ruthlessness in the command above them contrasted against some more honorable Autobot opponents they happen to face leads to eventual defection—first as neutrals before eventually aiding the Autobot cause. Regardless of everything though, Goldfist never forgets his roots or what the Decepticons initially represented.

[invisible-pink-toast]

Spike from Buffy for the character break down please:)

💖💖💖

Give Me a Character

How I feel about this character

Love him! Problematic fave, vampire blorbo, etc. etc. 

Buffy was the first show I watched after I realised I liked girls because I knew there were gay witches in it - but that doesn’t start until mid s4 and s1 was so slow. Spike showed up in early s2 and I liked him from his first scene, he convinced me to stick with the show and now it’s one of my favourites!

All the people I ship romantically with this character

Buffy! Their relationship is so fun, sad, romantic, interesting. Of course there’s issues but unfortunately with BTVS there’s issues with every character, relationship, plot - the writing is a true disaster sometimes, so I’ve learned to just take what I love and run with it. 

Also Dru! Their whole epic vampire romance with the Whirlwind and then for a century after, just being madly in love and creating chaos wherever they go, what’s not to love??? I don’t want them together in the future but I love what they had. 

My non-romantic OTP for this character

Dawn!!!!! They are my favourite relationship in the Buffy-verse. A punk vampire who’s trying to learn to be good and a 14 year old who used to be (and sort of still is) an eldritch horror - name a more iconic duo. 

They play off each other so well with the banter, immaturity, protectiveness, care. The summer when Buffy was dead and Spike stepping up for Dawn is so wonderful. I’ll never forgive the show for forgetting about and ditching their relationship. 

My unpopular opinion about this character

People get way too into “is he really good” “does he deserve redemption” “you shouldn’t like him because [insert basically anything here]” bleh. He’s a fictional vampire, not a real person in a court case. He’s a great character!! He’s fun and fresh as a villain, he’s hilarious as an ally, and then complicated and charming as a love interest. I enjoy his character, I don’t need to start writing a thesis on how ‘actually it’s okay that I like this character’ 

One thing I wish would happen / had happened with this character in canon.

More friendship with the Scoobies!

Spike and Anya should’ve been best friends like they get along so well and have so much in common (also all their scenes together are hilarious). And Spike and Tara have some really sweet moments, I so so wish they’d had more interactions. Also Spike and Willow had great chemistry, but they barely have any scenes in the later seasons. Just a lot of underused potential :( 

[i-will-physically-fight-you]

Monsters in the Closet

Title: Monsters in the Closet

Summary: “You’re so much nicer when you’re bigger.” 

 Roman knows he can’t change the past. He can’t change the way he treated Virgil horribly, driving him to feel the only way he could be accepted was to be the villain of the story. But he can sit there and feel guilty knowing he is not worthy of any of the trust this young Virgil has placed in him. 

(Part of the Tiny Virgil verse, takes place after An Itsy Bitsy Nightmare)

Word-Count: 2.7k

Pairing: Brotherly Prinixety

Warnings: Guilt, Panic/Anxiety, Treating Someone Wrongfully in the Past, Deaging, Hurt/Comfort

This part of a very late birthday present for @theeternalspace! I’m so sorry this took so long, please forgive me and I hope you enjoy! :)

-

Roman lets out a sigh and opens his eyes. Virgil is still snuggled close to his chest, asleep again after waking up what appeared to be a horrible nightmare. Roman can’t find himself to fall back asleep. His mind refuses to settle, refuses to let go of what Virgil said to him moments ago. 

“You’re so much nicer when you’re bigger.”

The words rumble in Roman’s mind like that of a great and fearsome thunderstorm. How could it not? All the more confirmation that regardless of the unfounded trust young Virgil placed in him, he’d still expected to inevitably be treated terribly.

And that? The guilt of that stings deeper than any sting of the blade or a bandersnatch’s ferocious bite.

It also makes him wonder what exactly the Ankle-Terror thought was going on. Kids aren’t stupid. Naïve, yes, but that’s different from being stupid. They’re creative and innovative in ways adults couldn’t dream to be. Plus, they tended to love engaging in-depth conversations about Disney. 

Sometimes, Roman misses the days when Thomas was a kid. Back when they were free to run around in the backyard and reimagine the swings as a spaceship or the underneath of the trampoline as the lair of an evil sorcerer. Back when they weren’t bound by inane things such as time constraints and the logistics of translating an idea into a real-world possibility. 

He could get Thomas and the others roped in a fantastical make-believe for hours. Weeks even of stretching an incredible imaginary world to its limits. The only things that ever stood in their way was the outside forces of school, parents and bedtime.

Nowadays, the reminiscing with a tinge of regret. There always had to be villains to fight, you see. An evil mad scientist. A corrupt king. A greedy dragon. The list goes on and on. He never ever played the villain. He’d always cast himself and Thomas as the heroes. Logan and Patton were the supporting stars. Virgil and the rest? The villains through and through. 

Virgil at this age would be used to this treatment. Rather than in his rightful heroic role as Protector, Defender, Watcher of All Perceived Threats--he played roles such as a wicked sorcerer who cast fear and disgrace upon the entire kingdom with his heinous sorcery.

He took to the roles without much grumbling. Oftentimes, he didn’t perform to young Roman’s expectations. Roman would chastise his performances, critiquing every bit. He wasn’t ever scary or evil enough for a Side responsible for making Thomas scared of monsters under his bed.

Virgil would also veto actions such as climbing super high up a tree and using it as a crow’s nest for a pirate ship. Much to Roman’s dismay, the others would side with him. Logan because Thomas could break a bone if he should fall and Patton because their parents wouldn’t approve. Thus making Virgil a major downer at times in Roman’s eyes and all the more deserving of the villain title.

It wasn’t until Thomas was older, closer to middle school, that Virgil started lashing out. He refused to play along, slinking off to sulk in his room. His influence had also grown and suddenly it wasn’t just monsters under the bed anymore--the monsters were everywhere. Homework, Teachers, Friends, Family. Roman worked overtime to help Thomas escape to worlds unfettered by these fears.

Of course, back then, he presumed this was Virgil fully showing his true colors as an antagonist. Thomas himself believed it, wishing vehemently for Virgil to just disappear. It was Roman’s responsibility, nay his purpose, to make Thomas’s dreams and desires come true. He was the Fairy Godmother to Thomas’s Cinderella. So for years and years he’d pursued this dream, desperate to make Thomas happy, proud even.

Now, he knows better. He knows that Virgil is more than just Anxiety, just like Roman and the others are more than what their title implies. He is vigilant, he keeps Thomas safe from external threats. Sometimes he can be overzealous, but he means well. And shutting him out isn’t the answer. It never was. 

With all that in mind, he wonders if the Boy Terror thinks this is one of Roman’s elaborate make-believe games. Roman could easily picture a younger him coming up with a make-believe game involving himself and the others being adults. True, Thomas back then liked envisioning himself as a kid defeating the evil dragon like kids his age did in the media he watched. 

But all kids at some point wonder what it’d be like to be an adult. They imagined themselves in the most exciting professions that made a real impact on the world. Then they’d grow up and very few of them made it to such professions.

(Except Thomas of course. Roman is incredibly proud of him and his accomplishments as an Ex-Viner turned Youtuber. Yes, they are still far from achieving feats such as Hollywood or Broadway, but still! For a while Thomas had to settle for a real, sensible job such as a chemical engineer. While science interested him, it didn’t drive him the way that creative pursuits such as singing and acting had. Thomas is lucky to be able to have a platform to do what he loves. Roman tries reminding himself of this during incredibly rare moments of insecurity.)

Kid Fright must be ecstatic about this. For possibly the first time in his life Creativity is including him in a game without making him the villain. Adult Virgil doesn’t talk much about the past--the few times Roman has tried to breach the topic it’d been an instant shutdown. 

But Virgil has always cared for them, even before they’d all realized this. He must’ve taken any part Roman gave him out of a desperation to be with them and keep them safe. It sickens Roman just thinking about it. He doesn’t know how Virgil stayed strong for so long. Roman doesn’t know if he could’ve lasted a day in Virgil’s place.

He is probably also terrified and waiting for the other shoe to drop. Regardless of his age, Virgil always expects the worst out of any scenario. Even now that’s been a year since he’s been accepted among the core sides that make up Thomas. He can’t help it, it’s in his nature. Roman can’t blame him for it. One year isn’t enough to undo the damages that the other twenty-nine years caused.

One thing is for certain: if he does think this is one of Roman’s make-believe games, he must think Thomas is still a kid. And Roman’s not sure if he should let Virgil know any different. In fact, it might be best to keep Virgil distracted while the others work to find the solution to this strange vexing problem. Because he knows Virgil won’t take it well to finding his host all grown-up. He thinks that none of them would in his place.

So he’ll keep Fall Out Kid safe away in the mindscape and continue being the Prince he deserved. He’ll allow Virgil to be the hero and he’ll play all the other roles. Sidekick, damsel-in-distress, villain--if he must. It’s silly, but he’s almost buzzing with excitement at all the worlds they could explore from within the common area. Cowboys, Spaceship, Space Cowboys. The possibilities are endless!

A small hand tugs at his sleeve, tugging him away from his thoughts altogether. He looks down at the inquisitive eyes slightly shrouded by a mop of dirty blond hair.

“Yes, little prince?” He says, trying to blink away the prickling sensation in his eyes. 

He refuses to cry again in front of the Little Shop of Terror. He knows he will have to confront his bubbling guilt and sorrow at some point, but for now he must push it aside. He is used to this. Being a hero means sometimes remaining strong and not showing vulnerability to loved ones.

“M’hungry.” Virgil murmurs into his chest, little arms wrapped around Roman’s neck. It’s almost endearing with how much he resembles a baby possum clinging to their mother. Roman isn’t used to a Virgil so physically affectionate. 

Virgil is like a feral cat. You couldn’t hug or pat him on the shoulder without warning. You had to ask and very rarely did he accept, even if it came from Patton. No, the best way is to let him initiate it. Let him lean his head against your shoulder, or his leg overlapping your own during a movie night. 

You also don’t acknowledge it and by not acknowledging it, Virgil then inches his way more until it grows into a proper hug. Then he would withdraw and promptly act like nothing  happened. Like you were to forget the interaction ever occured in the first place.

Logan has a theory that it’s because Virgil is the Fight-or-Flight instincts and physical affection lowers his guard in a way he isn’t completely comfortable with. Roman now has a theory that it’s a lot more heartbreaking than that. 

“You’re hungry?” Roman asks, attempting to steer his mind out of Despairing Drive and into Present Place. 

 A small growling noise occurs and Jack Smallington ducks his head down, embarrassed.

Roman isn’t entirely surprised considering that it’s been about eight hours since they discovered approximately five-year-old Virgil in the place of grown-up Virgil. Who knows how long he’d been like that, alone in his room, before that. Virgil also rarely eats so the poor kid probably woke up hungry. 

Roman feels so stupid. If it’d been Patton or Logan watching him, the first thing they would’ve made sure is if he was hungry. Because kid or not, it isn’t in Virgil’s nature to be self-advocating. That type of stuff freaks him out. Yet another reason Roman is completely unqualified to watch over Virgil. 

“Okay,” Roman breaths in, smiling, “thanks for letting me know, big guy. To the kitchen at once!”

With that, he hoists Virgil up, settling him on top of his shoulders. There’s a squawk of surprise and Roman’s almost worried until it turns into a gleeful giggle. When Roman lets out a neigh, pretending he’s a horse, Virgil’s giggles grow louder.

“You’re not a horse,” Virgil says.

“Neigh I am!” Roman says, “I am your trusty steed and we’re embarking on a perilous-but-completely-safe journey to the kitchen!”

He treks towards the kitchen, clicking his tongue in an imitation of a horse clip-clopping along. 

“Faster,” Virgil urges, resting his hands on top of Roman’s head.

“Faster?” Roman asks, almost stopping in surprise. 

“Yeah!” Virgil insists, “We gotta get there as fast as possible before any monsters come and eat us!”

“Never fear,” Roman says, “For I shall get us there before any monster even thinks of gobbling us up!”

With that Roman quickens his pace, ensuring he had a firm hold onto Virgil to keep him falling off. 

 “Faster, faster, faster!” Virgil chants in an anxious yet excited tone, “I think I see one!”

“Oh?” Roman turns his head back, “Oh, I see him too! Neigh, we better hurry!”

There isn’t an actual monster there. No sharp fangs or numerous eyes glaring menacingly in their direction. He can’t tell if Virgil is making up a game or if he actually believes there is one there. Either way, Roman is Creativity. If there’s one thing he knows best, it’s how to combat imaginary foes. Such as reaching the threshold of the kitchen.

With one great bound, he makes it onto the black-and-white checkered tiles.

“Aha! Now no monsters can attack us while we feast in the dwelling of this noble kitchen!” Roman grins, setting Virgil atop the kitchen counter before jumping up to sit beside him.

Virgil beams up at him, face wide with utter delight and awe. Roman is left dumbfounded at this. Even as a kid, Virgil had been very closed-off with his emotions. So shy and distrustful of everyone and everything. But here he looks at Roman like he’s some great hero or something.

 ‘How,’ Roman wonders, ‘how can you look at me like this when I’m the obstinate villain of this story?’

“Princey,” Virgil swings his legs, “won’t Dad be upset if he finds us sitting on the counter?”

Roman blinks. At first he thinks Virgil is referring to Thomas’s father until he remembers Patton also goes by Dad. For the longest time, Pat had even been insistent that was his name. In the way that young children believe their parents’ real names really are Mom and Dad. 

“Well,” Roman says, offering a pinky, “I won’t tell if you won’t.”

“Okay.” Virgil hesitates before interlocking his tiny pinky with Roman’s.

“Excellent! Now what would you like to eat?”

“Ummmm, I--I don’t know.” Virgil bites his lips, eyes flickering around the kitchen. Roman’s heart squeezes at this. He should’ve known such an open-ended question would set his anxiety off. They’ve learned recently that it was better giving Virgil the option of clearly-defined choices rather than vague ones.

“Would you like grilled cheese or spaghetti?” He asks kindly instead. 

“Grilled cheese? With applesauce?” Virgil doesn’t meet his gaze, as if afraid Roman will condemn his choices.

Roman smiles, “Your wish is my command.” 

He could’ve just snapped the food into existence right then and there. A few years back, it would’ve been enough to suffice. But as much as the Sides influence Thomas, the same holds true the other way around. Thomas once saw a fanart of Patton cooking breakfast for the sides and the idea stuck.

 Now Roman could still summon fully prepared meals but they weren’t super filling. Roman didn’t mind too much; contrary to popular belief (Logan) cooking could be a very creative endeavor. As Thomas’s creativity he could make up steps to dishes and still have them turn out perfect in the end. He may or may not enjoy it simply because it frustrated Logan to no end. 

He hops off the kitchen counter, snapping a finger. Instantly cabinet doors magically open as the ingredients and the materials he needed floated out onto the countertop beside the stove. Okay, so he cheated a bit, but just because the others lacked a little imagination didn’t mean he couldn’t bend reality in a place where reality is inconsequential. 

Roman turns to Virgil, unable to hide his smile at Virgil’s gobsmacked expression.

“Here, you can help put butter on the bread,” He tells Virgil, handing him a butter knife.

Grilled cheese sandwiches are a quick and easy meal. Before too long, Roman hands the kid a plate with a plain grilled cheese cut in halves and a cup of prepackaged apple sauce. 

“Thank you,” Virgil squeaks out before digging in.

“Of course.” Roman says, resisting the urge to ruffle the Little Terror’s hair. Instead he takes a bite of his own grilled cheese. Admittedly, he went a bit overboard with his own grilled cheese sandwich; three different types of cheese with lettuce, tomato and pickles. He isn’t quite sure if he’s a fan of the pickles but ah well. So it goes when in the pursuit of creativity.

They eat on top of the kitchen counters with relative silence. Roman hums a bit between bites of grilled cheese. Halfway through, he notices Virgil sending him glances when he thinks Roman isn’t looking. The kid squirms a bit in place, his face twisting in apprehension. 

“Is there something troubling you, Little Prince?” Roman asks at last.

“Princey, where are the others? A--are they okay?!” 

Oh. Oh, of course. Roman’s heart aches knowing how much Virgil worries and cares for everyone, even at such a young age. He’s so quick to reassure him that he doesn’t even pause to think about the phrasing of his words.

“They’re perfectly fine, rest assured. Logan is shut away in his room reading like the insufferable nerd he is and Patton is simply checking up on our dear Thomas--”

“Thomas?” Virgil breathes in, eyes bright with alarm. His shoulders raise to his ears like hackles raising on a frightened cat.

It is at this moment Roman knew that he messed up.

“Virgil, wait--” Roman pleads, attempting to place a placating hand on his shoulder. 

Roman is too late. His hand meets air as Virgil disappears in front of him with a loud crackle. All that’s left is a plate of half-eaten grilled cheese clattering to the countertops and a terror that shakes the entirety of the mindscape. 

[indianamoonshine]

chapter iii | knightly behavior

summary: every summer you work on your father’s strawberry farm with your three sisters. it’s a way to take a break from the big city but summers in the midwest are hot and they linger. this year, your father’s old and mysterious friend shows up to stay on your land for a reason yet to be determined. din djarin seems dangerous, but kind enough, and the two of you quickly become…well, let’s fact it…smitten.

rating: (18+) for future and explicit sexual content.

author’s note: reader is well over eighteen for obvious reasons. i won’t ever go into physical detail about the reader’s appearance because we include everyone. this fic is pretty much a mix between pride & prejudice and call me by your name except without the und*rage crap we do not condone.

You looked upon him in a way that no one had ever looked upon him before.

And it was strange, he thought, because the two of you had been introduced not even twenty-four hours prior. But in your eyes was a subtle enchantment that made Din forget the misfortunes that brought him to the farm in the first place.

You smile politely at him, albeit a bit drunkenly, as he mends your wound. Your foot is propped against his thigh as you sit prettily upon the bathroom counter. Your eyes shine, cheeks rosy with alcohol and adrenaline. The thorn had been removed, but the cut still bled enough to upset Din. When you flinch at the peroxide, he himself grimaces as though he can empathize with your pain.

“I’m surprised I felt it at all,” you say to him as though you’re sheepish from the fall. “With all the vodka and whatnot.”

Din meets your gaze and catches himself staring at your petal-like lips. He forces himself to look away, as much as it burned, but he was far too concerned with your feelings at the gesture.

there was no way you could look at a man such as him the way he looked at you.

Din places a Band-Aid on your foot, sealing it gently, and inspects it once more. “This is a tender part of the body,” he says. He finds himself squeezing you gently in a show of affection he had not expected. He swallows before adding, “-I would be concerned if you didn’t.”

A flash of mischief crosses your face before you tease. “Are you a doctor, Mister Djarin?”

He finds himself chuckling lowly at the question. His answer was quite the opposite, but you needn’t know the true nature of his lot in life. If possible, he’d avoid being transparent in that regard for as long as fate allowed.

“No,” Din finds himself saying. “And you can call me Din.”

A bold choice, but when you embrace with a gentle smile. “My father always told me to refer to my elders with their respective titles.”

You were funny. Witty. Charming to the last. Din found himself growing more fond of you with each passing moment; even in your disheveled state did he think you beautiful.

He mustn’t become attached. You could very easily become ammunition if he weren’t careful. In his pursuit of sound welfare, you had almost become something of a villain; you were making it increasingly difficult to focus on protecting his own interests. In just a few hours, Din felt an unwarranted dedication to you.

He wasn’t comfortable with it.

But he didn’t know how to stop it.

Those of Mandalorian creed did not devote themselves to anyone outside of the order. They hunt and they seek – they survive. And to be senselessly bewitched by someone of such (what he would’ve once considered) little importance was preposterous.

Nonsensical.

Din hadn’t ever been irrational before. Everything was calculated.

Not anymore.

Din tries not to grin, but he can’t bear it. His body is traitorous. “Funny,” he quips. He releases your foot.

You remain silent for a moment, formulating thoughts of whatever it was celestial beings like you did in quietude.

“How did you and my father meet?” you ask after what felt like eons of stillness. “He hasn’t told us very much.”

Din starts to clean up the medical supplies – bits of paper from the Band-Aid and the hydrogen peroxide he had so carefully dabbed upon your skin.

He falters for a moment. While what he was about to say was the truth, it felt dirty. There was more to your father’s past than what you’d have believed and Din knew it wasn’t his place to expose any of it; he would have tread carefully.

“We met when we were teenagers,” he replies.

You let out a messy giggle – like it caught even yourself off guard. You place a hand against your mouth as though to cover the goofy smile. “So when dinosaurs ruled the Earth, then.”

The age-gap hadn’t been lost on Din.

He opens the cabinet very carefully to avoid bumping your head with it. The bathroom was in older shape compared to the rest of the house, so it came as no surprise when the mirror rattled loudly as it opened.

“I was the one who carried you to safety, remember?” Din meets your eyes, hoping you’d find the humor in them.

You do.

“Yes,” you boff. The twitter that escapes your mouth causes his heart to jump to his throat. “And now you’re mending me after a vicious rose bush attack.”

He cracks a grin, though slyly to avoid sharing any bemusement due to your jesting lip. He couldn’t help it; your devilment was far too pleasant to make him scornful.

“Thank you,” you add meekly, but you’re smiling and it’s more than enough gratitude he required.

He wishes to see you smile all the time.

Din’s placed both hands against the counter, consciously ignorant of the space between the two of you. He meant no harm by it – was simply leaning against the sturdiness of the tile. But as you watch him, there was a sense of longing Din hadn’t beheld in quite some time. He tries to avoid it – whatever it may be – by tearing his gaze away from yours and pushing himself off with a casual grunt.

You blink when he separates himself from you, eyes fluttering a bit carelessly, and expression computing back to its neutralness. He does the same, brows raising in panic at the sensation.

“We met while I was camping in Michigan – the UP.” He scratches the back of his head and leans against the wall with arms crossed.

Anything to look complacent.

He finds himself engrossed by the way your ankles cross over one another and how your legs swing. Your dress had threatened to expose the more fragile parts of you, but you were of sound enough mind to eschew that from happening. Had that occurred, Din would’ve punished himself for looking. He wasn’t a religious man by any means, but what was that verse in the Christian bible again? “And if thine eye offend thee, pluck it out, and cast it from thee: it is better for thee to enter into life with one eye, rather than having two eyes to be cast into hell fire.”

Faith didn’t belong in his repertoire, but that particular verse was commonsensical enough to recite.

Over and over again, apparently.

“So you’re from around here then?” you inquire.

“You know that people can visit the Midwest, right?” he remarks.

He was certain you’d simper mockingly – and sure enough, you do. “You’re very bratty for an old man.”

Din takes pride in guessing your responses; it must mean something.

Before he returns, he allows himself to laugh. It’s not full-bodied, but it’s some of the most genuine laughter he’s been able to conjure in quite some time.

“I’m from Chile,” he answers, perfectly amused by your bantering. “I moved here when I was a child.”

He watches as your fingers tap against the tile of the counter. They were well manicured, but cut short, and he guessed that was because you worked with your hands. He respected that – admired it. You clearly come from humble background and trialing youth.

Din could relate to that.

And yet you’re still soft, kind – gracious in your endeavors. And he was not. He was clinical, meticulous in the frayed edges of an odyssey he wasn’t sure he wanted to continue anymore. The two of you were snow and flame, and the old wife’s tale certainly wasn’t true. Opposites don’t attract. Opposites – the grunting, savage neanderthal of the two – are attracted. Someone ripened with softness such as yourself would surely never take rapture in a Neolithic man.

He could dream, of course. And he will.

“That’s very impressive,” you hum, chin raised in speculation.

Din furrows his brows, arms linking themselves around his frame tighter than before. It brought himself a semblance of comfort. For almost all his life, Din was the hunter and never the prey. He was large, foreboding enough to exude the kind of energy the average man could only theorize about, and yet here he stood…before you…

Feeling like the bounty he sought.

“Interesting to have been born in Chile?” he taunts.

Your brows crinkle, nose wiggling a bit to avoid showing your doubtful speculation. It wasn’t a look of disgust – Din was convinced you could never find fault in anyone. Maybe not even him. He hoped for this, anyway.

“No,” you reply. “To be able to keep that information from everyone.”

He shrugs, right brow arching in a show of faux derision. “Who said I was keeping it?” he all but drawled.

Something in his tone must’ve engaged your interest. Maybe you could see right through him; Din couldn’t find himself dumbfounded by the idea. You were smart enough to content with in a war of wit.

He notices how you head tilts in measured consideration. “You’re a very interesting man, Mister Djarin,” you whisper.

A heat flushes him from head to boot. He tears his fixation from the way your eyes swallow him whole – like a boa constrictor might do to a mouse. But he feels no fear for his safety – just his survival.

Because you were going to make this very difficult for him.

|||

TAG LIST: @dancingwiththeplanets, @ficthots, @t3a-bag, @dodgerandevans & there was one more person BUT I ACCIDENTALLY ERASED THEIR MESSAGE I’M SO SORRY TO WHOEVER YOU WERE PLEASE FORGIVE ME.

[zukkaoru]

shhh i’m not on my phone at work got a second wHAT

35:) ramble to me, babe

35. ramble about any fic-related thing you want

corey this is so vague i don't even know where to begin skjgdfhdj uhhhhh what do i want to ramble about,,

WAIT OKAY I GOT IT

okay so back in like. february i think i did another ask game like this and someone (jo?? maybe???) sent an ask about meta/foreshadowing/hidden references for this ultraviolet morning light and at the time, only the first two(?) chapters were out so i couldn't talk about the foreshadowing, bc it was all leading up to the end of chapter six. but i can talk about it now bc the whole fic is up!!

i'll put it under the cut bc i know it'll be long + spoilers for those who haven't yet read tuvml

fic writer ask game

okay so first. all of the foreshadowing for the drowning scene. maybe i did already have a list of these in my google docs in case anyone every asked, maybe not, i won't say

anyway. i added in water/drowning imagery with zuko specifically in this fic, because of the drowning scene, and especially bc in the atla world, water imagery would generally be used with characters from the water tribes rather than someone from the fire nation. so it wasn't just me liking water-related words and shoving them onto zuko for no reason; it was intentional

chapter one:

- He really can’t think of anything more beautiful than Zuko drenched in moonlight - This is what fire feels like when doused with water. - It burns like fire consuming Sokka’s entire body, like he’s been dunked underwater and the surface has frozen over and his lungs are about to give out, but he’s going to keep hitting the ice anyways like he’s strong enough to break it.

chapter two:

- It washes over his body all at once, like a wave pulling him under the surface of the ocean, until his limbs are numb and tingly and his head sways. He’s completely frozen in place, eyes staring straight ahead but not really seeing anything. - He would’ve rather stood across from Azula in the Agni Kai arena and let her shoot him full of lightning, rather been dropped in the middle of the ocean

chapter three:

- Zuko searches the tumultuous ocean that is his mind for the right words - Zuko was telling them about Azula never quite getting the knack for swimming despite their annual vacations to Ember Island when they were little, and Sokka was so happy.

chapter four:

So he lets the words sink, lets them drown in the knowledge that he no longer has the right to talk to Sokka in the same way he used to.

chapter five:

The moonlight pours over him, drowning him in a soft white glow.

chapter six:

But…my doctors have told me that spending the rest of your life letting yourself drown in guilt isn’t going to help anyone.

also, people picked up on vai being a double agent, but no one picked up on the fact that she was a waterbender, even though i did hint at that too:

- Her brown skin is almost as dark as Sokka’s and her face and arms are covered in freckles. - It reminds Sokka of himself a little; the bright blue eyes of a waterbender but no bending ability to speak of. - How can you get better than a play with dragons, a star-crossed love affair, sun and moon symbolism, and a villain who has a secret past that ties them to the protagonist?

beyond that, there are also a lot of parallels/call backs to previous chapters/foreshadowing to future scenes just in general. the funniest one (and also completely unintentional one) is probably sokka and katara calling each other their least favorite [sibling]

“You’re my least favorite sister,” // You are, and I say this from the bottom of my heart, my least favorite brother ever. chapter 1 // epilogue

but there are. several more. and i'm not sure how many of them people picked up on so i will add them all bc i love them <3

Zuko would get himself arrested, kidnapped, killed, whatever if it would keep Sokka safe. // “I would give my life for [Zuko] without a second thought.” … “But would he do the same for you?” chapter 4 // chapter 6

When Sokka’s hand began to retreat, Zuko had reached forward, grabbed it, and whispered, “Please stay.” // “Don’t leave me.” Sokka says it like a prayer … like he would repeat it until he couldn’t remember anything else if it meant Zuko would keep holding him. “Just… stay.” chapter 5 // chapter 7

So they sit - Sokka and Zuko - on the roof of some abandoned building in the outskirts of the city. // “But now I’m pretty sure we’re just destined to be Sokka and Zuko” chapter 5 // chapter 7

“I just don’t think he’s trustworthy enough for this. … when he proves that he isn’t as reliable as you think - when he proves that he’s only ever going to let you down - I’m going to say I told you so.” // “Zuko is kind, and he is trustworthy and reliable. He’d never purposefully let me down” chapter 3 // chapter 6

this ^ was one i was hoping people would pick up on bc it makes the drowning scene/sokka pleading for vai to not hurt zuko that much angstier, but i'm not sure anyone did so now i'm putting those lines right next to each other so you're all forced to confront the pain <3

Is he still in love with Zuko? Is being in love enough? // But what good is any of that? Love isn’t always enough. // “It doesn’t matter who or where feels like home, it doesn’t matter if we’re in love. When you’re next in line for the throne, love isn’t enough.” chapter 3 // chapter 4 // chapter 6

Zuko warms his other hand on instinct, and apparently it was a good call because Sokka squeezes it tighter and presses closer to Zuko. “I forgot my mittens at home,” // I love you doesn’t always take the shape of those three words. … Sometimes, it’s Have you eaten today? or Don’t forget your mittens again! chapter 1 // chapter 6

this ^ is also one i thought people might pick up on but idk if anyone did or not. but it made me🥺🥺 when i wrote it

[religion tw for the last part]

okay i could leave it there but corey gave me an excuse to ramble and i've made the post this long anyways so one more thing! i explained this to corey a while ago when we were having dinner together but i find it very funny so i'm sharing it with all of you i say like anyone has actually read this far

i accidentally made zuko a Christ Figure in tuvml

"but grace, surely that's not possible," you say. "surely there's no way zuko is a christ figure! there aren't any christian themes in tuvml. you didn't even have anyone try to convince vai to forgive zuko or have anyone convince zuko and sokka that they should forgive vai! how could you have a christ figure in your fic???"

let me set the scene. it's 2019, you're a senior in high school, and you decided to take ap literature for the possibility of college credit. your teacher has this book called how to read literature like a professor that he has his classes read chapters from, and one of those chapters talks about Christ Figures in literature. one of those chapters also talks about baptism symbolism, and mentions how oftentimes, characters who are christ figures will go through a baptism of some sort - being "born again" after a scene where they come out of the water

do you want to know what zuko does in this ultraviolet morning light?

he goes into the water. and then he comes back out.

and do you want to know what i had sokka say about zuko shortly before he took a dive into the baptistry water?

Zuko looks away from him, resigned, like he’s ready to die as atonement.

see. i grew up Christian, i went to church every sunday and i have spent the majority of my life memorizing Bible verses either for awana or bible quizzing and. sometimes i just drop biblical words into my writing sometimes bc they're words i've heard since i was a kid, and they're words i learned make you sound smarter at church. so of course i throw them around while writing. i use them in essays, i use them in poetry, and i use them in fan fiction.

so was i trying to make zuko a christ figure in my fic? absolutely not.

but i had sokka say he looked ready to die as atonement (for the sins of his people), and then i had him go into the water, nearly die, and have to be "brought back to life" by suki's cpr, being "born again" after a "baptism" and

well

accidental christ figure zuko i guess

anyway. this went on for a while and i'm not sure anyone bothered reading all of it which. valid.

thank you corey for letting me ramble skjdgfdjgh i'm not sure this is coherent, nor should it have all been in one post, but whatever

[hellfirexandxashes]

@psticide​ started following Dabi

Just stares at Overhaul for an uncomfortably long time, not saying anything. One of his favorite hobbies was finding different ways to get under one’s skin, and for this one in particular he took to simply observing him casually with not a word to be said. See how long before Dabi’s gaze feels uncomfortable and makes one’s skin crawl with it’s intensity

He’ll wait until something breaks.

[ranger-kellyn]

I decided to listen to Happiness and was like. "Oh this is pretty sad, I'm sure it can't get any sadder-"

"I hope she'll be a beautiful fool, who takes my spot next to you."

WHY?! 😭😭😭

THERE IT IS >:)c

while i said i couldn't say whether or not it was "sung" by one or the other, i think it's mostly a purah song. i've always imagined her sitting on the edge of her little cliffside, looking down at that forested area "honey when i'm above the trees, i see this for what it is"

"all the years i've given is just shit we're dividing up"

them diving up the guidance stones and all their work after going back to the royal research lab one last time

"I haven't met the new me, yet."

neither of them know who they'll be after the calamity

"there'll be happiness after you, but there was happiness because of you"

self explanatory.

terror in the nightfall is the calamity, haunted by the look in my eyes, them being the ones to take Link to the Shrine of Resurrection That would've loved you for a lifetime / leave it all behind, they could've loved each other their whole lives but will never have that chance now

"i hope she'll be a beautiful fool, who takes my spot next to you" One Word: Jerren. AND not that Jerren is in any way a fool. Trained by two geniuses, well versed in her own research, she's a brilliant woman. but you [purah] say things when you're hurt.

"Across our great divide / There is a glorious sunrise" the great divide being the entire east coast of Hyrule

"I can't make it go away by making you a villain" She can be as mad as she wants at him for marrying her previous assistant. it changes nothing. he can try to forget her and call her a "batty/pushy woman" all he wants. it changes nothing.

"I guess it's the price I pay for seven years in heaven..." I've always written that, in the BoTW timelines, purah chooses to stay single. she tried to make it work with other people, but nobody was robbie, and so she didn't want any of it with anyone else. her few years with robbie were more than enough for one lifetime. tying into, "After giving you the best I had / Tell me what to give after that" what do you even do if you've already HAD your 'happily ever after'?

"All you want from me now / Is the green light of forgiveness" They both want to make amends, probably. they're both old. too old and tired for holding grudges. maybe in a different lifetime they had their true happily ever after. it's just not in this lifetime.

[shyantheswiftfan]

“happiness” lyrical analysis

Hello again! I’m back with another in-depth lyrical analysis. I really wanted to do happiness because I related it so much to my own past, and I had a lot of fun looking deeper into the themes of this one. This song deserves so much more love than it’s been getting. Hope you enjoy! 

As always, this is my own interpretation, so if you don’t agree, that’s okay, you don’t have to. Much love.

PS - Anything crossed out is just a section that I’ve already covered that didn’t change lyrically the second time around.

[Verse 1] Honey, when I'm above the trees I see this for what it is 

Our narrator is comparing the relationship to a forest. Saying how, when you take a step back and look at the whole thing, you can see everything. All the good and the bad, the entire picture.

But now I'm right down in it All the years I've given Is just shit we're dividing up 

But when they’re down in the thick of it, surface level, there’s such a narrow frame of view. All you can see is what’s in front of you, and everything behind you has just turned into a fight for who to blame. Picking and choosing who gets what in the end of it all. 

Showed you all of my hiding spots I was dancing when the music stopped 

They’re talking about how they let this other person in, even to see their most secret and vulnerable places, and how they were still trying to make everything good even after the fun parts were gone.

And in the disbelief, I can't face reinvention I haven't met the new me yet  

The narrator never expected this time to come because they spent their time trying to give their everything to make this work, but now they’ve lost who they were. They no longer know the version of themselves that exists without their partner. 

[Chorus] There'll be happiness after you But there was happiness because of you Both of these things can be true There is happiness 

They are reassuring themselves that things will be okay again, but they aren’t forgetting all the good they had in the relationship. There isn’t a limited amount of happiness; it can exist during and after a relationship.

[Post-Chorus] Past the blood and bruise Past the curses and cries Beyond the terror in the nightfall 

They can’t focus on the fighting and the pain. The “nightfall” is the end of this relationship, and it’s scary for them to be losing it.

Haunted by the look in my eyes That would've loved you for a lifetime  Leave it all behind  And there is happiness 

The narrator was committed to making this work until the end of the line. Now, all their partner is leaving with is the look of disbelief and pain that has fallen upon our narrator’s face.

[Verse 2] Tell me, when did your winning smile Begin to look like a smirk? 

To smirk is “to smile in a smug or condescending way”(Merriam-Webster definition), so the smile that the narrator once loved has now turned against them and is becoming something that they despise. It feels to them like their partner is getting satisfaction from their pain or looking down on them.

When did all our lessons start to look like weapons Pointed at my deepest hurt? 

Their partner has started using their past against them. Times when they had struggles that they had to learn from are now being used against the narrator to point out their mistakes and flaws. Their partner knows how to hurt them the worst; they know what the deepest cuts are.

I hope she'll be a beautiful fool 

This is one of the ‘ The Great Gatsby’ references that I want to point out. It’s a take on an early quote from Daisy where she is talking about her hopes for her daughter. The narrator of this song seems to be referring to the next woman their partner will be with. They are saying that they hope the next woman is ignorant to the bad things and is just happy, and they’re also saying that the next one would be a fool at all to enter a relationship with their partner.

Who takes my spot next to you No, I didn't mean that Sorry, I can't see facts through all of my fury You haven't met the new me yet 

They immediately regret what they said because they don’t really think the next woman would be a fool to enter a relationship. They’re just so angry and hurt that they don’t think before they speak. The narrator is probably just saying whatever they know will hurt their partner, just as their partner has turned against them at the beginning of this verse. 

[Chorus 2] There'll be happiness after me But there was happiness because of me Both of these things I believe There is happiness 

They’re now reassuring their partner of the same sentiment they told themselves in the first chorus.

[Post-Chorus 2] In our history Across our great divide There is a glorious sunrise 

As they referred to the relationship as “nightfall” in the first post-chorus, they’re now referring to this separation as moving towards a new day and seeing the sun come up again. Light will return to their world, even if they can’t see it right now, feeling so far apart and alone.

Dappled with the flickers of light From the dress I wore at midnight Leave it all behind And there is happiness 

Another statement about this being the night, the darkness. The dress is a symbol of the weight the narrator is carrying right now, but there’s still light and beauty in this thing they’re letting go of. They are shedding that weight and feeling happy for what has been and what will become.

[Bridge] I can't make it go away by making you a villain I guess it's the price I pay for seven years in heaven 

The narrator knows that their partner isn’t the only bad guy in this situation. They can admit that both parties had some wrongs to play in this. They acknowledge that this hurt and this pain is just what you have to bear with after something that was with you this long. You can’t just be free of this kind of relationship; there’s a cost for freedom.

And I pulled your body into mine every goddamn night now I get fake niceties 

This is talking about what the narrator gave to their partner. They gave themselves, their body, for their partner every night. Now they feel like their partner has betrayed them, especially by pretending that everything is fine, and that this split doesn’t hurt them just as badly. That they aren’t just as angry.

No one teaches you what to do When a good man hurts you And you know you hurt him too 

Again, acknowledgment that there was never just one person to blame. It’s easier when one person does something bad that causes the ending, but when it’s a case of two people who have simply fallen out of love, it’s hard to know how to move on from that. You want to be angry, yet what is there to hate them for? The narrator knows they are doing exactly the same as their partner.

[Verse 3] Honey, when I'm above the trees I see it for what it is But now my eyes leak acid rain On the pillow where you used to lay your head 

The narrator is mourning this separation, and they feel like their tears are burning and soaking the pain into the pillow. The tears are washing away every last shred of their partner, while leaving a permanent impact of the narrator’s life.

After giving you the best I had Tell me what to give after that 

They feel like they don’t have anything left for the future. They’re out of love and all the good things about them that they dedicated to this relationship. The narrator is afraid they’ll never have all that back.

All you want from me now Is the green light of forgiveness 

Another ‘The Great Gatsby’ reference. In my short analysis of this song (here), one of the main themes I listed was hope. I think the green light in Gatsby represents many things, but one of the main things in my opinion is hope in the eyes of Jay Gatsby. Just as the “green light of forgiveness” is a symbol of hope for both partners in this relationship to move forward after everything is said and done.

You haven't met the new me yet And I think she'll give you that 

The narrator needs time to become their own person, but when they do, they know they’ll be just fine and can forgive their partner for the pain caused.

[Chorus 3] There'll be happiness after you But there was happiness because of you too Both of these things can be true There is happiness 

[Post-Chorus 3 and Outro] In our history Across our great divide There is a glorious sunrise Dappled with the flickers of light From the dress I wore at midnight Leave it all behind Oh, leave it all behind Leave it all behind And there is happiness 

This song really hits home for me because it makes me think of my parents’ divorce 15 years ago. It was painful seeing them both slowly drift apart and separate. Their is finally happiness for both of them in their own ways. It may have taken a long time, but it was for the better in the end.

I appreciate you taking the time to read all of this. I’ll be doing more analyses soon, I’m sure! If you enjoyed this, don’t be afraid to show it some love. Thank you!

(coney island analysis) (evermore short song analyses: pt 1)