#OH IMPORTANT ADDITION ACTUALLY

[myfairkatiecat]

Everyone is entitled to love or hate a character, but if you’re loving or hating a character for the wrong reasons I’m gonna side eye you. They are the person they are, love or hate them for it but at least get them right smh

[serpentface]

FAMILY TITLES AMONG THE HILL TRIBES

(ft. various linguistic notes and tangents)

In-universe Brakul’s self-given title of ‘Red-Dog’ is Brakul 'ne-Dainh' in his native language (Bict-Urbinnas dialect of the Highland language group) and Brakul 'Chin-Reyla' in Wardi. Ne-Dainh/Chin-Reyla is not something he treats as or considers an actual surname or identity, just a self-styled nickname. He already has a title.

Family names/surnames are not a native practice among the Hill Tribes (though some clans or individual families have adopted this practice), and all traditionally use titles that designate immediate ancestry, clan and tribe. These full titles are officially given when one comes of age and are spoken aloud in ceremony (with the entire direct male and female lines listed by name, with most traditions expecting 12 generations of each being named).

The function is to cement one’s sense of place in the world, and their place in a direct ancestral line, which puts the person under the full watch and guidance of their ancestors. It's also a critical method of recording lineage- the long held practice of each person memorizing at least 24 total direct ancestors allows for very long, largely accurate records of family history to be kept, with some people able to trace their ancestry all the way back to initial settlement of the Highlands (or even beyond).

Brakul’s full title is:

“Brakul virsum Kuligan et Borunil an Briyonis ne-Taig an Bict-Urbinnas”

Which dead literally translates to “Brakul son of Kuligan and Borunil of the Foothills (of) Red-Cattle, of the North (Urbin/Erubin) River Valley” but has a much richer meaning in the original language.

"BRAKUL VIRSUM KULIGAN ET BORUNIL"

The actual meaning here is closer to ‘Brakul, son of Kuligan and his father’s fathers, and Borunil and her mother’s mothers’.

“Virsum” means ‘child (son/daughter) of’ (the gender is contextual), but implies the person’s status as a descendant of a full male and female line of ancestors. A different word is used if you’re just saying ‘I’m so and so’s son”. The title describes him as a son of his father Kuligan and of Kuligan’s male line, and of his mother Borunil and Borunil's female line.

All ancestors (within this particular system of kinship, divided into one direct male line from the father and one direct female line from the mother, and not including husbands from the female line or wives from the male line) are invoked and credited with the word ‘virsum’. Speaking it as part of the personal title is part of the routine and necessary honoring of one’s ancestors, who watch over their descendants from the afterlife and can temporarily return to the land to guide and protect (and sometimes punish, or teach sharp lessons to) the living.

"AN BRIYONIS NE-TAIG"

The actual meaning here would be understood as ‘clan/people of the foothills where cattle are lit red by the setting sun'.

‘Briyonis’ is the word for ‘foothill’, citing his clan’s specific location being the foothills that form the slopes of the north Urbin river valley. He is of a lesser clan within the powerful North Urbin River tribe. His clan benefits from close affiliation to their more powerful ruling clans located directly in the river valley, which grants them access to a greater variety of cultivated foods, but their actual position in the foothills still renders them predominantly reliant on cattle for subsistence. Clan names referencing cattle or horses are very common, given their frequent centrality to life.

The ‘ne-Taig’ literally means ‘red cattle’, but the ‘ne’ color word for red specifically invokes shades of red seen in and cast by a rising/setting sun. This red cast is culturally regarded as a unique beauty and evocative (and part of the name) of the solar god Hraighne. The foothills his clan is physically located on are a vantage point from which the western horizon is not fully obscured by mountains, and they experience very striking sunsets and are directly touched by the light. This is fairly unique to this location, and is invoked in the clan name and identity. ‘Ne-Taig’ here suggests a visual of grazing cattle illuminated red by the sun as it crosses the horizon.

‘Ne-Dainh’ carries the same implication, a dog illuminated red by setting sunlight. The Wardi language does not have a comparable word for a sunlit red and ‘Chin-Reyla’ really does just mean ‘(orangeish) red dog’ (‘reyla’ is specific to orangey-red colors, which is the closest match he could get. There’s no way to impart the meaning of ‘sunlit-red dog’ in Wardi that is non-clunky enough to be appropriate for a name).

"AN BICT-URBINNAS"

‘an Bict-Urbinnas’ is fairly simple, Bict means ‘north’, and 'Urbin' is the name of the specific river that stems from a northern and eastern tributary. This river has a very ancient name (or a derivative of one) that predates settlement by the Hill Tribes, and its exact meaning is lost.

The root -(n)nas designates a river valley, but has strong implications of being an esteemed and bountiful place, rather than solely a literal geographical descriptor (as the river valleys are centers of power and trade in the highlands). It may be a loanword from the Wardi language family, as its usage is VERY similar in form and function to the Wardi -(n)nos, which also suggests a place of esteem and bounty (more specifically having connotations of a kingdom).

’An’ literally means ‘of’, but in the specific sense of describing the place and identity of a collection of people. ‘an Bict Urbinnas’ would be understood in speech as ‘of the north Urbin River Valley (people)’. The clans historically settled in and around the valley of the North Urbin River form the totality of the Bict-Urbinnas tribe.

The ‘Urbin’ word predates the contemporary Wardi name ‘Erubin’ for the river, the latter of which invokes the semi-mythological founding figure Erub, who himself was of a Wardi tribe located downriver to the south of the Highlands. The real historically extant ‘Erub’ was most likely named Urub after the river, with his cited name shifting over the centuries in folklore, and the Wardi name for the river shifting with it.

‘Erubin’ as a corruption of ‘Urbin’ functions very well in Wardi language due to ‘-bi/bin’ denoting something as a ‘gift’, usually in a more metaphorical sense. ‘Erubin’ is understood as meaning ‘(The river that is) Erub’s gift’, and the Erubin/Urbin river is a key tributary to the much larger Black river, one of the key rivers that feeds the region's wetter and more fertile west. This 'gift' meaning also occurs in the name of the southeastern Imperial Wardi city-state Erubinnos, which is understood as meaning ’((The kingdom that is) Erub’s gift’. He is considered to have conquered and taken the land (from the core city's actual founders, the Wogan people) and established a kingdom there in the early days of warring Wardi tribal monarchies.

[izzyspussy]

so anyway. headcanon that richie doesn't believe he deserves to be happy, but he makes a concerted effort to live a happy and fulfilling life post derry 2.0 anyway because the kid he used to be still deserves it, and also because all the kids and adults who don't know if it's possible for them or if they deserve it either need to see they can still have it too.

[bijoumikhawal]

me: why does my brain feel unglued

My underwear when I take my bathroom break: 🟥🟥🟥

[catastrxblues]

—

[todayisafridaynight]

any hopes for kiwami 3? like things u wanna see added or changed stuff like that

if they dont keep kiryu's goofy walk stance and the hoof-like walk sounds i dont wanna play it

[icewindandboringhorror]

Recent game related things .. hrmm...

[tankgotstuckinthecircusgate]

i think carlo had the biggest family of all m2 characters bc it contained half of moretti's crew😭

[pomefioredove]

Hiya! Hope you're doing okay, and take it easy if you haven't been!

For the flirty prompts starters list, could you maybe do: "Stop saying things that make me want to kiss the hell out of you." with Vil? I think it'd be a good one

Thanks!

(I hope you have fun writing this if you do! No biggie if you don't or if someone else already asked!)

GIGGLING SO MUCH

summary: "stop saying things that make me want to kiss the hell out of you" type of post: short fic characters: vil additional info: romantic, reader is gender neutral, reader is yuu, Vil experiencing cuteness aggression.jpg, not proofread a part of this event

Vil considers himself to be an eloquent man.

After all, how one speaks is just as important as how one carries themselves, and every last inch of him, from his looks to his body language to his words, have been refined to perfection. Each a golden thread in the dazzling tapestry that is Vil Schoenheit.

And yet, despite that, he still can't seem to find a way to describe you.

Frustrating is not quite right. Epel is frustrating. Those first years you insist on spending your precious time with are frustrating. But you...

You are not annoying, nor are you incompetent. His usual vocabulary for the students of NRC is useless when it comes to you.

...And different is too vague.

Vil just seems to forget what to do with his hands when you're around.

You look so soft in the golden afternoon light of the lounge, which is distracting enough as it is. Now you're giggling in the way you do, and he can't concentrate, and... what was he doing, again?

"Stop that," he says, plainly, not looking up from the textbook he'd been reading. Or trying to, anyway. He'd lost his place some time ago.

You make this... sound, this confused little hum, and he pictures you tilting your head to the side like a puppy. Sevens, you're just so...

He huffs. "I said, stop,"

"Stop what?"

Clueless little thing. Vil sighs, finding it within himself to make eye contact. He'd given up on finishing this assignment early, anyway.

"You know what,"

You stare back, unblinking. Are you really so oblivious? No, there's no way you aren't doing this on purpose, whatever it is, just to get on his nerves. Did those friends of yours put you up to this?

He should scold you. He invited you to study with him, a luxury which many would pay millions for, and here you are, being...

Ugh. He still can't think of the right word.

"Am I being too loud?" you ask, a confused lilt in your voice.

Sevens, you are so dense, he wants to just grab you and squeeze you like a stress ball until a thought comes out of that empty head.

The thought of that is no help. If anything, it just bothers him more.

He pinches the bridge of his nose. Are you really not doing this on purpose? "No. You're distracting me,"

"Oh... sorry,"

...In such a soft, meek little tone, like you really feel bad about it, looking up at him with those eyes of yours... ugh. He wants to bite you, squeeze you in his arms until this overwhelming, restless feeling passes. You're so...

"It's... fine," Vil relents. "I don't think I would've gotten much done today, anyway."

You actually tilt your head to the side this time, worsening his condition. "Something on your mind?"

Sevens, what are you doing to him? He can't sit still. He pictures himself reaching across the table to pinch your cheeks, to kiss that sweet, worried expression off your face. The effect you have...

And you're not even doing anything!

"No," he says, his voice strained with the weight of the lie. "Just burnout. It's a busy time of year for me."

You seem to take that as a cue, standing from your seat with wide eyes and holding out a hand, much to his chagrin.

"You should be resting, then. Overworking yourself will only make things worse. Come on, let's go back,"

Such a determined expression on that pretty face of yours. There's just something about how you respond so innocently, so intent on caring for him, you're...

You're so...

Vil feels his heart drop. Oh, Sevens. That's the word.

You're so cute.

"Stop that," he snaps. He can feel his face warming. "This is the last time I'll ask."

A little flash of annoyance crosses your face at his dismissal. How adorable...

"Stop what?" You repeat.

Even your scoff is cute. His face feels hot. He can handle beautiful. Gorgeous, pretty, sexy, even, But not cute. And now he's getting himself all worked up over it, and you're being so sweet, and...

"Stop saying things that make me want to kiss the hell out of you!"

Nothing has ever had such an effect on him before.

After all, it would take something incredible to fluster Vil- and here he is, blurting out every thought he has, blushing like a schoolgirl as he realizes what just came out of his mouth.

Vil Schoenheit, suddenly terrified of being rejected. It was as if he'd woken up in a parallel universe.

Or died, and went to his own personal Hell.

The shock slowly wears off your face, and you... laugh.

You laugh.

"You're very forward,"

"I'll take that as a compliment, and not the way you meant it," he mumbles, crossing his arms over his chest. "Though I'm failing to find what's so amusing."

You move around the table to sit next to him, eyes gleaming. "How would you like me to react, then?"

Vil stares back. Was that... flirtation? Perhaps you're not so oblivious, after all...

But still cute.

Still very cute.

He sighs, though there's a smile playing at his lips now. "Save me the embarrassment of being rejected,"

"Hmm... I suppose that can be arranged,"

And with that, he cups your face in his hands and draws you in for that kiss.

[cleo-fox]

Close Quarters

Part 2 of 2

(Part 1)

Summary: The thrilling conclusion to Part 1.

Pairing: Loki x Fem Reader

Warnings: Smut, 18+ (Minors DNI), dirty talk, praise kink, fingering, elevator sex, a hint of dom/sub, Dom Loki, Reader gets a little bratty, little bit of a sir kink, cunnilingus, blow jobs, filth.

A/N: I know I usually choose a Loki GIF but Thomas Sharpe seemed…more appropriate. I’ve got a couple more one shots with these idiots, so if you want to see more, lemme know.

Mercifully, the hallway is empty.

You imagine that your exit from the elevator looks as scandalous as what happened inside it. You are draped in Loki’s arms, still out of breath and a little glassy eyed from the two earth shattering orgasms that he’d given you only minutes prior. In contrast, Loki looks relatively put together and intently focused, like there’s nothing more important on this earth than getting you both back to your suite as quickly as possible. That thought gives you a bit of a thrill—the idea of you wanting him is not necessarily new or unusual, but the idea that he might want you just as much is utterly thrilling.

It occurs to you that you’re in rather close proximity to his neck and it seems like a shame to let that opportunity go to waste. You press your lips against the pulse point in his throat and lazily make your way along his jaw. His breath hitches when you catch his earlobe between your teeth.

“Are you trying to ensure that I take you in the hallway, Mrs. Pine?” he says, his voice dropping deep.

“I won’t be able to scream for you in the hallway,” you breathe into his ear, “and I kinda think you want that.”

“Minx,” he growls, picking up his pace just slightly as you resume kissing his neck.

“I take it that means I’m right,” you say. “Or that I’m in for it when we get back to the room.”

He chuckles. “Oh, it’s both, darling.”

You shiver and nip at his earlobe once more.

Loki drops the glamor as soon as the door to your room shuts behind you and while you like the cropped blond hair of Jonathan Pine, there is something about his natural long, dark locks that drives you wild.

“Let’s me make two things clear, Agent,” he says as he carries you into the bedroom. “First: there are no covers in here; I want you screaming my name when you come. Second—” he sets you down at the foot of the bed. “—I want to taste your pretty cunt.”

Heat and tension coil in your hips. “I can agree to both of those things.”

“Good. Undress.”

He watches as you slowly strip off your swimsuit, his eyes greedy and hungry. Once you’re completely naked, he gives himself a moment to look you over in full, unconsciously licking his lips when his gaze falls on your breasts and hips, his eyes devouring every inch of you. Finally, he nods at the foot of the bed. “Sit.”

You sit down on the bed and he begins unbuttoning his shirt. He takes his time and you watch, enraptured by the slow reveal of his well-muscled chest and taut, flat stomach. The shirt is discarded on the floor with your swimsuit. He undoes his belt, then the button and zip on his shorts.

He’s wearing black boxer briefs, which surprises you—you had assumed that his preference was likely to go commando. But honestly, the boxer briefs are so fitted that the effect is essentially the same: they cling to every dip and swell and leave absolutely nothing to the imagination. The material is taut across his thighs and his cock strains hard at the fabric. If pressed, you could probably create a reasonably accurate sketch based on this view alone.

You don’t have terribly long to contemplate this, though—he kneels in front of you, pulling you in for a slow kiss, his large hands cupping your breasts. His kiss is thorough and sensual, but the addition of his hands kneading your breasts and gently teasing and pinching the sensitive skin of your nipples may actually send you into the stratosphere.

And then he lowers his mouth to your breast and you lose the ability to form coherent thoughts. He strokes his tongue lazily on your nipple in slow circles, lightly teasing the hardened bud with his teeth and bringing another flood of slick arousal to your cunt. Your hips rock fruitlessly against nothing, seeking friction to ease the throbbing pulse of your clit.

You sigh, letting your eyes close and your head tip back, your fingers tangling in his hair. After a moment, you reach for his free hand and guide it between your legs. His fingers dip between your legs, collecting your slickness and gently rolling against your clit.

You moan and he draws back, eyes dark. “Lie back,” he says softly.

You recline on the bed and his focus shifts to you spread out before him. “Lovely,” he says. He is being sincere—and there’s a power in that that thrills you, that sends even more heat and slick to your aching cunt.

When he’s looked his fill, he brings both of your legs over his broad shoulders. He lowers his head to your cunt slowly, first dipping down to inhale your scent and then with one wicked grin, slipping the warm blade of his tongue between your folds.

Your exhale is shaky and turns into a soft whine in the back of your throat as he licks a long, broad stripe from your entrance up to your clit.

“Fuck, Loki.” His name falls from your lips unbidden. You prop yourself up on your elbows and drink in the sight of him between your legs, head bowed like he is worshiping at the most sacred and solemn altar.

In the elevator, he was determined to make you come as quickly as possible; now, though, in the privacy of your room, he seems intent on taking his time and building you up achingly slowly. His tongue laves over your clit at a leisurely pace, teasing and tasting and sucking until he finds the rhythm and movement that makes you try to press your quaking thighs together because it feels so incredible. He gently presses your legs back open, keeping you spread and fully at the mercy of the rolling waves of pleasure that his mouth is creating. One of his long and elegant fingers slides inside of you and curls, pressing against that sweet, soft spot that makes your hips buck and your eyes roll to the back of your head.

When a second finger joins the first a few minutes later, you know that it won’t be much longer. Loki looks up at you, lust-glazed eyes glittering like he knows that too.

You approach the edge slowly, your breath coming in rolling gasps, your hands gripping his hair. He watches you, his gaze both hungry and mischievous. You bite your lip, breath stuttering as you furrow your brow against that final ascent.

And then the tension finally snaps and your head tips back as you tumble off the edge and into your climax, your free fall as decadent and shiver-inducing as the beautifully slow buildup.

You don’t manage to gasp his name because the concept of words has fled you entirely and the only sound that escapes your lips is a sharp cry. From the glint in his eye and the low groan of approval offered against your clit, Loki doesn’t seem to mind at all.

The aftershocks roll through you in rippling waves that make your toes curl and it takes you a moment to catch your breath.

“I confess, I’m quite tempted to stay here all night,” says Loki, placing a gentle kiss on your clit. “You have the sweetest cunt.”

“I bet you say that to all the girls,” you say, your words slurred with pleasure.

“Hardly.” He licks you very slowly from your entrance to your clit and you sigh, running your fingers through his hair. He repeats the same circuit twice more.

“In fact,” he murmurs, placing another kiss on your clit, “I think I may need another taste.” Another lingering kiss, his tongue teasing your entrance. You suck in a shuddering breath.

“One more.” Another long stroke of his tongue and you shiver again.

“Darling, I’m so sorry—” a quick kiss to your clit, “—but I think I’m going to have to make you come again. I'm simply famished.”

Your back arches and you moan as his mouth once again envelopes your clit and his fingers slide back inside you, curling into that soft, sweet spot. You’re a little sensitive, but he’s moving with such achingly perfect precision that you can already feel another orgasm starting to build in your hips.

The ascent is much quicker this time, and you soon find yourself whimpering and panting, your hands tangling again in his hair. He groans against you and you swear you feel the vibrations shimmer all along your aching core.

“Please,” you moan. “Please. I’m so close. Please.”

He lets you ride the edge for a little bit longer, despite your pleas and your iron grip on his hair. But after a minute or so, he seems to take pity on you and he increases his pace just slightly. Your orgasm blossoms in your hips, your cunt clamping down on his fingers as you moan his name to the ceiling.

“That’s my good girl,” he purrs a moment later, as his fingers coax you through the aftershocks. He looks you over, licking his lips. “You’re gorgeous like this, you know,” he says, eyes dragging greedily over your body. “Naked and utterly fucked out. Perfection.”

You shiver and slowly convince your loose muscles to allow you to sit up. “I don’t think you can say I’m fucked out if you haven’t actually fucked me.”

His eyebrow arches, “Is that so?”

You scoot to the edge of the bed so that you can run your hands over his firm chest. You press a kiss just above his belly button, tongue flicking out briefly against his skin. “Seems reasonable to me.”

“Do you want me to fuck you, Agent?” he says, his voice dropping low.

“I mean, that’s what I was hinting at, yes,” you say.

His eyes are hooded as he gives you a sly, calculating smile. “But do you deserve to be fucked, Agent?”

Feeling a little bold, you place your palm flat against the substantial bulge in his boxer briefs, running your hand along the hard, thick length of him. Fuck, he’s big. “Yes,” you say.

“I’m not so sure about that,” he says, his expression and voice deliciously stern despite your hand on his cock. “You’ve been quite pert. Disobedient. Mouthy.”

You think you have an idea where this is going. “So am I getting punished or begging for you to forgive me?” you ask with a coy smile.

The hunger and delight in his gaze makes you ache. “Let’s see what your smart mouth can do to my cock and maybe then I’ll consider fucking you.”

You lick your lips and trace your fingertips along the sharp lines of his Adonis belt, pausing at the waistband of his boxer briefs. You hook your fingertips under the elastic and pull them down.

His cock springs free as the fabric falls to the floor. Between sitting on his lap and the unsubtle nature of the boxer briefs, you knew he was long and thick, but you’re still not fully prepared to experience the full effect of seeing his cock be hard and ready for you.

“Fuck,” you breathe. You take a moment to admire him, despite the fact that you know it’s likely only inflating his ego. 

“Do you want me, Agent?” he drawls with a lazy smile. “Do you want my cock?”

“I think you know the answer to that,” you say. “In fact, I’m certain you do.”

“Perhaps I like hearing you say it,” he says, bringing one hand up to stroke your cheek. “Would that be such a terrible thing?”

Impulsively, you get to your feet and pull him into a kiss. You can still taste yourself on him—salty and a little sweet.

“You like hearing me talk about how I want you?” you say, pressing your hips against his.

“Very much.” His voice is a low purr and you shiver in his arms.

“I’m aching for you to fill me,” you murmur, leaning in to kiss him. “I’m dripping just thinking about it.” You nip at his lower lip and he groans against your mouth. “But first, I want to get on my knees and worship your perfect cock with my mouth.”

There's a low, pleased rumble deep in his chest and you shiver as you draw away. “Sit down.”

He sits down on the foot of the bed and you position yourself in front of him, standing between his spread thighs and lowering yourself to your knees. You run your hands up his thighs, lightly dragging your fingernails along his skin, enjoying the slight hitch in his breath. You kiss the inside of his left knee and slowly make your way up the inside of his left thigh, dragging your tongue along his skin every so often. You continue this all the way up to the crease where his thigh meets his hip, close enough that he can feel the heat of your breath on his beautiful cock.

And then you lean back and begin the same process again on his right leg.

“What,” he says, his voice going deep and dark, “did I say about playing games, Agent?”

You tilt your head to look up at him. He’s staring down at you with a stern look that makes your cunt clench.

“You know, I came so hard earlier, I can’t quite recall,” you say, making your eyes as wide and innocent as you can.

“And if you want to come again tonight, you’ll find a way to remember,” he says. He’s stern and authoritative, and it’s ridiculously hot. “Now put that smart mouth to work on my cock,” he growls.

“Yes, sir.” The phrase just sort of slips out, but the way it makes your cunt ache and his eyes glitter is absolutely delicious.

“Oh, I like those manners, pet,” he purrs. “I want to hear more of that.”

“I’ll keep that in mind,” you say, pausing to lick your lips, “sir.”

“Good girl.”

His cock is flushed and so hard it presses up against his stomach. You wrap one hand around his shaft and you suck in a breath when your fingers don’t quite meet. He’s huge and the thought of having him inside of you makes you shiver and ache in anticipation.

You stroke him once and lower your mouth to the tip of his cock, placing gentle, closed mouth kisses on it.

He tolerates this for about thirty seconds.

“Agent.” His voice is laced with warning. “I won’t warn you again.”

Your lips curl into a slight smile and you flick your tongue against the tip of his cock, savoring the sharp tang of his pre-come. His eyes glitter down at you, still watching, waiting for you to disobey him.

“Am I not allowed to savor this experience?” you ask, intentionally licking your lips.

“I would urge you to consider that only good girls get to come on my cock, darling,” he says, his voice going dark and deliciously stern. “Choose your next moves wisely.”

The reality is that you desperately want to come on his cock and you wouldn’t put it past him to deny you. So, you offer him a sly smirk before you slowly begin to lick the tip of his cock, gradually opening your lips and bringing him into your mouth.

He groans softly. “You just need a firm hand, don’t you?” he says as you begin to move your head, stroking his shaft in a slow rhythm. His fingers card through your hair as he leans back on one hand, allowing himself to relax a little. “Or perhaps it’s that you want my cock more than you want to be a brat.”

You look up at him and raise an eyebrow. He’s not wrong.

He laughs low in his throat. “Oh, I think I’m going to  have you taking my orders by the time the week is up.” He reaches out to stroke your cheek with his thumb. “You have such a needy little cunt and I rather think that will prove to be an advantage for me.”

Your instinct is to let out a low whine, but you also don’t want to give him the satisfaction. You can’t fully stop yourself from reacting, though, and a soft whimper makes its way out of your lips.

He catches this and smirks. “You like being mouthy and talking back, but I think you also crave a little discipline. Being told what to do gets you off, doesn’t it?”

This time, you do whine and he smiles down at you, eyes hooded. “That works out rather nicely,” he says, his voice dropping deep, “because I quite enjoy giving orders.”

You shiver and he notices, running his fingers through your hair.

“Filthy girl,” he purrs. “We’re going to have so much fun together.” He watches you for a minute, eyes hooded, lips slightly parted. “You’re gorgeous like this, too, you know,” he says. “On your knees with my cock in your mouth like a good girl. I could watch this for hours.” You glance up at him and catch his lazy smile. “Though,” he continues, “I suspect you’ll also look gorgeous riding my cock. Or perhaps spread out and tied to the bed.”

This image is too much for you: a high pitched whine makes its way out of your throat before you can think better of it.

“Oh, you like that idea?” he says, not sounding very surprised at all. “You like the thought of being bound and completely at my mercy?”

Another embarrassing whine escapes you before you can stop it.

“We’ll have to explore that some time this week,” he says. “Though I am starting to develop a rather lengthy list of things I want to do to you.”

Fuck. You are caught between wanting him to keep talking and wanting him to shut up so you stop making such embarrassing noises.

Admittedly, the idea of making him feel so good that you render him speechless is also incredibly appealing.

You suck just a little harder, cheeks hollowing as you start running your tongue along the underside of his shaft, swirling it on the tip as you come up.

His eyebrows draw together, his lips parting slightly. “Fuck. That’s it.”

You pick up your pace just a little and he groans, his hand going to grip your hair.

“Yes—just like that.” His grip tightens on your hair. “If your cunt is even half as good as your mouth—fuck, yes, right there—I’m going to have a hard time leaving this room this week.”

You hum against his cock and he groans, his hips starting to rock toward your mouth. “Do you like this?” he asks, his voice husky. “Do you like being on your knees for me?”

You moan against his cock, sucking harder.

“You do, don’t you?” he says, his voice a little unsteady. “Barely an hour and you’re already such a slut for my cock.”

You moan again, bobbing your head up and down his length.

“Such a good girl,” he purrs. “A bit of a brat to start, but I think I’m going to have to reward you for this. Your mouth is too fucking good.”

Another moan slips past your lips. He groans and is quiet for a minute or two, his hips rocking toward you.

His breath is coming in shaky gasps now. “I’m close, love,” he says, his fingers flexing in your hair. “I’m going to spill myself in your pretty mouth and then I’m going to fuck you into the mattress.”

You can’t help but moan, which seems to spur him on. His lips part and you can almost feel how close he is.

He makes the most beautiful noise as he comes, a low groan that seems to reverberate in your cunt as he empties himself into your mouth. You swallow his release greedily as you continue stroking him, your head moving up and down his length.

You pull off of him slowly, licking your lips and you look up at him, your mouth curling into a smirk. “So, was that a proper enough apology for you?” you ask.

He growls low in his chest, eyes opening to look down at you. “You are still far too pert for your own good,” he says. “I suspect I’m going to have to put you over my knee at some point this week. You need discipline.”

You suck in a deep breath as your cunt clenches at the possibility.

“But right now, I need to fuck you.” He gestures to the bed. “Get up here. Now.”

You don’t need any encouragement to follow this command, but the way that he delivers the order and the way his green eyes get all steely is enough for more slickness to collect between your legs. You clamber to your feet, but before you can even try getting on the bed, he’s pulling you to him and flipping you onto your back. He rolls on top of you, caging you in with his body, his impossibly hard cock throbbing against your stomach.

He kisses you, tongue pressing into your mouth, hungry and claiming. “Do you want me inside you?” he purrs against your lips. “Do you want me to fuck you?”

“I need you to fuck me,” you say, spreading your legs and tilting your pelvis up toward him. “I want you to claim me.”

His smile is sharp and he drags the tip of his cock along your cunt, coating himself in your slickness. “Still so fucking wet,” he growls.

“I told you I need you,” you murmur.

He lines himself up at your entrance and ever so slowly begins easing into you. He presses forward, inch by glorious inch, until his hips are flush against yours.

“Oh fuck,” you breathe. “You feel so good.”

He smiles and withdraws just an inch or two before pressing back in. You arch underneath him and let out a soft moan.

“How about that? Is that good?” he asks.

You moan and nod.

He repeats the action. “And this?”

You offer up another moan and he grins. He repeats the action again, clearly teasing you. “What about this one?”

“Loki, please—”

“What is it darling?”

You’re not quite sure if you want to kiss or slap that smirk right off his face.

“Please don’t stop, please—”

“Oh, you want me to keep doing this?” he says, his brow furrowing in mock confusion. “You should have said something.”

“Loki, please—”

He chuckles quietly and begins rocking his hips against yours in slow, shallow thrusts. You sigh and wrap your legs around his waist, meeting his mouth as he kisses you. You can tell he’s holding back, though.

“I’m not going to break,” you finally say, tilting your hips to rock with his. “I want more. I want you to fuck me.”

He kisses you hard and his thrusts lengthen and deepen, his pace increasing just a hair, and you cry out because he’s now hitting that soft, sweet spot and he feels even better.

“You’re taking me so well, darling,” he says. “This snug little cunt was made for my cock, wasn’t it?”

“Yes,” you breathe, arching your back. “Fuck, that’s so good.”

He wraps those long fingers around your ankles and brings your legs up so that they are draped over his shoulders, your body folded in half. He thrusts again and his cock presses even deeper, rubbing against that tender spot inside you. His thumb finds your clit and you whimper. Pressure is starting to build in your hips again.

“You’re getting close already, aren’t you?” he rasps, grinning at you like a devil. “I can feel you starting to tremble.”

You keen, your cunt clenching around his steadily thrusting cock.

“Are you going to be a good girl and come on my cock?” he growls.

You nod, words somewhere beyond you.

“I want you to soak my cock,” he purrs. “Let it all out. Scream for me.”

You feel yourself poised on the edge. So close.

“Come for me, darling, that’s it, let go, come for me, let me feel that sweet cunt milk me dry…”

You arch your back as your orgasm blossoms and unfurls. The sound that falls from your lips is a high pitched keening that would be Loki’s name, except there’s no space for anything besides this incredible feeling, his cock inside you, and the weight of him on top of you.

“Oh there you go, that’s it,” he murmurs. “You have the tightest, most exquisite cunt. I could fuck you for days.”

You moan, shuddering in the final throes, your cunt spasming around his thick cock. He withdraws for a moment and you moan at the loss, but he quickly flips you onto your stomach and slides right back inside you.

From this angle, his cock thrusts even deeper, pressing more directly against your G-spot. A few strokes in and it becomes glaringly apparent to you that you’re going to come again.

“You’re insatiable, aren’t you?” he pants, thrusting hard into you. “I can feel you starting to tremble already.”

You moan into the comforter, arching your back so he hits that spot again.

“Ah, ah, ah,” he scolds, wrapping an arm around your waist and pulling you up so your back is flush against his chest. “I want to hear every filthy little sound that you make. Every. Last. One.” He thrusts in time with those last three words and you moan.

“You love this, don’t you?” he growls, his hips thrusting hard. “You love me taking you from behind like a fucking animal.”

Your legs are shaking and you can feel your orgasm building. “Loki, I’m gonna come again,” you whimper.

“I know you are, sweet girl,” he growls. “I can feel your tight cunt trembling.” His free hand slides between your legs, fingers rolling over your clit in the same rhythm as his thrusting cock.

Your breath stutters and a low whine escapes your lips. You are deliciously close.

“Please.” Your voice is barely a gasp. You’re riding the very edge of that wave and it feels so good that you’re almost certain the oncoming climax couldn’t possibly feel better. Almost.

“Oh, you’re almost there, love, you can do it,” says Loki, his hand still moving with his hips. “You just need to let go.”

You whimper. You are almost there.

“Be my good girl and let go for me,” he rasps. “Come for me.”

It breaks quite suddenly, your whole body shuddering and your cunt clamping down hard on his cock as you come. The noise you make is animalistic, torn from somewhere deep in your chest.

“Fuck!” Loki is fucking you hard, hips pistoning against your ass. “So fucking tight, you’re like a vise when you come, fuck—” His speech gives way into either Asgardian or Old Norse—you’re not quite sure which, but the idea that you’ve made him feel good enough to abandon English is incredibly appealing.

You’re dreamily floating back down from your high when you hear him make that beautiful noise again, that low, deep groan that falls from his lips only when he comes. You feel his release flood your cunt, hot and thick, as his hips finally start to slow.

It’s another minute or two before he rolls off you, flopping down next to you on the bed. Before you even have a moment to miss him or the comforting weight of his body on yours, he’s wrapping his arms around your waist and pulling you close.

You both lie there for a long moment, catching your breath.

You think back to your initial meeting with Fury, when you complained about being sent in with Loki. You’ve never been more pleased to be wrong in your entire life.

“So,” you say once you feel capable of speech, “you said you had some ideas for the rest of the week?”

If you thought his grin was devilish before, it’s nothing compared to what he looks like now as he pulls you on top of him.

“Darling,” he says, his voice dropping an octave. “I thought you’d never ask.”

[linkspooky]

SHIGARAKI VS. YUBEL: HOW TO SAVE YOUR VILLAIN

The failure of Deku to save Shigaraki isn’t just a tragic conclusion for Shigaraki’s arc, it’s also My Hero Academia failing as a story. When I say the story failed, I mean the story has failed to answer any of the questions it asked its audience. It’s themes, character arcs, everything that communicates the meaning of the story to the audience is no longer clear. 

Saving Shigaraki was the central goal of not only the story itself, but the main character Deku. By failing in its goal you can’t call this a good ending. In order to illustrate why this goal of saving the villain is so important to both Deku’s character and the central idea of MHA, I’m going to provide a positive example in Yu-Gi-Oh GX were the main character Judai successfully saves their villain.  One of these stories fails, and the other succeeds. I will illustrate why under the cut. 

BROKEN THEMES = BROKEN STORY

When artists draw they have to consider things like perspective, anatomy, shading, light, coloring. Drawing has rules, and it’s hard to produce good art without knowing these rules beforehand. If I draw something that has bad anatomy, you can criticize me for that. 

Writing has rules, just like drawing. The rules of storytelling are important because writing is an act of communication. You can write whatever you want, just like how you can draw whatever you want, but if you break the rules the audience won’t understand what you are trying to communicate. 

When I refer to MHA as a broken story, I am referring to the fact that it has broken the rules of storytelling. As this youtuber explains.

“I guess we should first define what broke and broken even means in this context. Has the story turned into an unintelligible mess? Not really. Value judgements aside, the narrative is still functional and fulfills the criteria of being a story. So how can a story that still functions be broken? Maybe to you it cannot. But to me a story that is still functional isn’t enough. What I mean when I say MHA is broken is that it’s lost something crucial. A codifying style of structure, pacing and payoff that until a certain point was the core of its identity.” 

I could launch into a long-winded explanation of what themes are, but for the sake of simplicity I like to define themes in terms of “Ask, and answer.” The author asks a question to the audience, and then by the end of the story provides an answer. The audience is also invited to come up with their own answer which prompts them to think about the story on a deeper level.  The question both MHA and GX are asking both its main characters and the audience is “Can you save the villain?” with the additional complicated question of “Should you save the villain?”  This post will detail how both stories go about answering those two questions, and more importantly why those answers matter for the story. 

With Great Power… You know the rest. 

My Hero Academia and Yu-Gi-Oh Gx are actually similar stories once you get past their superficial differences. MHA is a story with way better worldbuilding, compared to a society where everything revolves around the trading card game, and people go to school to be better at a trading card game. 

However, if you get past that. They are both bildungsroman, stories about the main characters growing up into adults. They both have an academy setting where the goal is for the main character to graduate and enter the adult world. They are both shonen manga. GX is the sequel of Yu-Gi-Oh a manga that ran in Shonen Jump the exact same magazine as MHA.  The biggest point of comparison is their main characters, who both start out as young and naive who are driven by their admiration of heroes. Deku is a fan of All Might who wants to become a hero despite not having a quirk, because he loves All might who saves everyone with a smile. Judai’s entire deck archetype revolves around “Elemental Heroes’ and later “Neo-Spacians” who are all based on popular sentai heroes like ultraman. 

The central arc for both characters is to grow up. Growing up for both of them not only requires figuring out what kind of adult they want to be, but also what kind of hero they want to be. 

Now I’m going to drastically oversimplify what a character arc is. 

A character arc first starts out with the character being wrong. Being wrong is essential because if the character is right from the beginning, then there’s no point in telling the story. A character often holds the wrong idea about the world, or has some sort of flaw that hinders their growth.  The narrative then needs to challenge them on that flaw. It usually sets up some kind of goal or win condition. That flaw gets in the way of a character “winning” or achieving their goal, so they need to fix that flaw first. If their ideals are wrong, then they need to think about what the right ideals are. If they’re too childish, they need to grow up. If they have unhealthy behaviors or coping mechanisms, they need to unlearn it and require better ones. Otherwise, that flaw will keep sabotaging them until the end. 

I’m borrowing the word “win condition” from class1akids here because it’s an incredibly appropriate terminology. Midoriya needs to do “x” in order to win, otherwise this victory doesn’t feel earned. The “x” in this case is usually character development. As I said before, a story where the main character hasn’t changed from beginning to end feels pointless. Especially in Deku’s case, he was already a brave, strong hero who would charge right into battle and defeat the bad guys in chapter one, so him defeating Shigaraki in a fist fight doesn’t represent a change. 

The story sets up not only “What does the hero need to do to win?” but also “How does the hero need to change in order to win?” A character either meets these requirements before the end of the story, or they don’t and usually this results in a negative ending. 

MHA in its first half quite clearly set up both the final conflict of saving the villains, and also that saving the villains is its “win conditions.”  The hero shouldn't be allowed to win without first fixing this flaw.

From this panel onward the central question Deku is forced to answer shifts from “Am I strong enough to defeat ShigarakI” to “Can I save Shigaraki?” However, much earlier than that All Might goes on to basically set up the win conditions of what makes the ultimate hero as someone who “Saves by winning, and wins by saving.”

All might: You can become the ultimate heroes. Ones who save by winning, and win by saving.

Therefore the story has set it’s criteria for what kind of hero Deku needs to become. If he wins without saving, then he’s failed to become what the series has set up as the Ultimate Hero. 

Shigaraki and Yubel aren’t just narrative obstacles, or boss monsters to be killed like in a video game. They are narrative challenges, which means that the character can’t grow in any way if they don’t answer the challenge presented by the characters. They are villains who actively resist being saved, to provide a challenge for two heroes who define their heroism by saving others. The challenge they pose adds a third question to the story and the main characters. 

"Can I save the villain?"

"Should I save the villain?"

"If I don't save the villain, then can I really call myself a hero?"

In other words the decision they make in saving, or not saving their final antagonist defines what kind of hero they are. In Deku’s case it’s even more critical he defines what hero he wants to be because the MHA is also a generational story, and several of the kids are asked to prove how exactly this generation of heroes is going to surpass the last one. The kids growing physically stronger than the last generation isn’t a satisfactory answer, Deku getting strong enough to punch Shigaraki hard is not a satisfactory answer, because we are reading a story and not watching a boxing match. 

I’m going to focus on the last two questions though for a moment. Many people who argue against saving villains like Shigaraki argue he is a mass murderer and therefore isn’t worthy of salvation. However, the act of saving Shigaraki isn’t a reflection of Shigaraki himself, but rather the kind of hero Deku wants to be. It all boils down to Spiderman. In the opening issue of Spiderman, teenage Peter Parker is bitten by a radioactive spider and suddenly gains super strength, the ability to stick to walls along with other powers. However, being a teenager he uses these powers selfishly at first. He doesn’t feel the obligation to use his powers for other people, and therefore when he sees a robbery happening right in front of him he lets the robber go. However, because he lets the robber go, the robber then attempts to hijack a car and kills his Uncle Ben in the process. If Spiderman had stopped the robber then he might have prevented that from happening. He had the power to stop the robber, but he didn’t feel responsible or obligated to save other people. As a result Uncle Ben dies. It’s not enough to have power, ti’s how you use that power that reflects who you are, therefore: “with great power comes great responsibility.” 

The choice to save Shigaraki actually has little to do with whether or not Shigaraki is redeemable, but rather how Deku chooses to use his power, and what he thinks he is responsible for reflects who Deku is as a person.  Deku himself also clearly outlines how he wants to use his power, that One for All is a power for saving, and not killing. 

How he uses his power reflects Deku’s ideal in saving others, and therefore if he doesnt use his power to save, then he’s failed to live up to his ideals. It's not whether it's morally right to save a murderer like Shigaraki, but rather the way Deku wants to choose to use his power. It's about whether he feels the responsibility to save others.

Judai explores an incredibly similar arc to Deku. They are basically both asked what kind of responsibilities a hero is supposed to have, which is also a metaphor for growing up to handle the responsibilities of adulthood. As both characters start out with incredibly naive and childish ideas about what a hero is. Therefore realizing what a hero is responsible for is key to them growing as a character.  However, Judai is different from Deku. In some ways he’s more like Bakugo. Judai is a prodigy who’s naturally good at dueling. He doesn’t duel to save others, but rather because duels are fun and he’s good at it. He’s very much like Bakugo, who admired All Might as a hero just as much as Deku did, but admired the fact that he was strong and always won rather than he saved others. 

However, I would say both Deku and Judai are questioning what a hero is responsible for. They are both asking if they have the responsibility to use their power to save others. If they have to fight for other people, just because they have power. His first big challenge as a character comes from Edo Phoenix, who calls out Judai for not thinking through what it means to be a hero, and what responsibilities heroes carry. Judai duels because he thinks it’s fun. He will show up to duel to help his friends, but that’s because he’s the most powerful person in the group. Even then it’s because he finds fighting strong opponents to be enjoyable. Bakugo will beat up a villain, but for him it’s more about winning then if the action will save someone or not. 

Judai is more often than not pushed into the role of being a hero, he doesn’t play the hero because he’s a particularly selfless person, and he’ll often avoid responsibility if not forced. He has power but no sense of responsibility and the narrative calls them out as a problem. 

Edo: Can you even fathom that, Judai?

For Judai, he can’t understand the responsibility of being a hero. For Deku, he idealizes heroes so much he can’t understand that there are people out there the heroes have failed to save. These two callouts towards Deku and Judai are discussing similar because they’re both discussing where a hero’s responsibilities lie. Is a hero responsible for saving everyone? Is someone strong like Judai responsible for using their strength to help other people? 

Judai’s arc continues into the third season where he’s not shown to just be naive but ignorant. He’s not just childish, he actively resists growing up because he doesn’t want to take on adult responsibilities. 

THe same way that Deku just decides not to think about whether or not All Might failed to save people in the panels above. However, in Judai's case he's actively called out for his choice to remain ignorant.

Satou: Now, which one is at fault? Judai: Isn’t it the guy who saw it, but didn’t pick it up. Satou: Not quite. If one is aware of the trash that fell, it may be picked up someday. But there is no possibility fo the unaware one ever picking it up. Judai-kun you are the foolish one unaware of the trash that has fallen. Judai: Are you calling me out for how I am? Satou: Your behavior towards me was atrocious. The worst was attending class only for credit, even if you were there you only slept. Judai: Yeah, I know. I was all bad, but it wasn’t that big a- Satou: It is important. You see, one by one, the students inspired by your attitude were losing their motivation. Now if you were a mediocre duelist, then this would not be an issue. Satou: However, you are the same hero who defeated the three mythic demons. Every single student in the academy admires you. You should have been a model for this academy. Judai: Me, a role model? Are you kidding? I just do whatever I feel like doing. Satou: Great power comes with great responsibility. Yet, as you remain unaware of that, you’ve spread your lethargy and self-indulgence. 

seems like a minor issue, but look how Judai responds to the accusations. “I just do whatever I feel like doing.” Satou is arguing that Judai should pay attention to the influence he has on others because of his power, because how he chooses to use that power affects others. However, Judai chooses to actively not look at the consequences of his actions because he doesn’t want to take on that level of responsibility, and therefore he’s looking away from the trash. 

While it seems like it doesn’t matter in Satou’s specific example, not thinking of the consequences, or how you use your power can have unexpected consequences. Spiderman doesn’t feel like it’s his responsibility to stop a bank robber, and that bank robber shoots his uncle. You could still argue it’s not Spiderman’s responsibility to stop every crime in the world, and I guess no one owes anyone anything from that point of view - but Spiderman failing to act responsibility had the consequence of directly hurting someone else. 

Spiderman has to live with that consequence because it was his own Uncle that was hurt. This is where we really reach the duality of Judai. 

In GX, Judai is, symbolically speaking, The Fool of the Tarot Deck, the Novice Alchemist — a person brimming with infinite potential, yet one who is also supremely ignorant, who walks forward with his eyes closed and often unknowingly causes harm in his great ignorance. In this, he is very much the embodiment of the faults we most commonly associate with teenagers — selfishness, recklessness, shallowness, a lack of dedication or empathy when it’s most needed. Like most people, he has good traits that work to balance out some of the above, but his narrative path through GX ends up being that of the flawed hero undone by his faults — and then that of the atoner, the repentant sinner. In his case, the mistakes of his teenage years are the catalyst for his growth from a boy into a man burdened with duty and purpose.  Judai is someone with infinite potential, with great power, but also ignorant on how he should use that power, and that makes him an incredibly flawed hero who needs to learn how that power should be used. 

Deku similarly exists in a society where heroes deliberately turn a blind eye to the suffering of a certain type of victim. Shigaraki’s speech heavily resmebles Satou’s speech about garbage on the side of the road. 

Shigarali: "For generations you pretended not to see those you coudln't protect and swept their pain under the rug. It's tainted everything you've built."

Deku shares Judai’s ignorance, because he’s not only a part of a system that doesn’t even see trash on the side of the road, but he also worships heroes so much that he’s incapable of criticizing them. If Deku saw the flaws of heroes, but at first didn’t have the courage to speak out, but eventually gained the courage that would be one thing. However, if he doesn’t see the flaws of heroes, then the problem will never be fixed. 

There are also consequences for both Judai and Deku failing to use their powers responsibly. These consequences take the form of the villains who came about because of all of society’s ignorance to the suffering of victims (Shigaraki) and because of the main character’s ignorance to their suffering (Yubel). Shigaraki and Yubel are also explicitly victims that the heroes failed to save, turned into villains who are active threats to the heroes. 

Should I save the villain?

The answer is yes, because the decision to save is reflective of the kind of hero each character wants to be. Each story clearly sets up that Deku and Judai aren’t punisher style heroes who shoot their villains, they are being set up as heroes who save. Deku needs to “save by winning.” As for Judai, a big deal is made of Judai’s admiration for another character Johan who represents a more idealistic kind of hero. Johan unlike Judai is someone who duels with a purpose, something Judai outright says he admires because he’s empty in comparison. 

Judai: Johan what have you been dueling for? See, it’s about fun for me… Well, for the surprise and happiness too. I guess I do do it for the fun. Sorry, I guess I put you on the spot by asking out of nowhere. Johan: What’s this about Judai? Judai: It’s nothing. Johan: I suppose there is one goal I have. Johan: Even if someone doesn’t have the power to see spirits, they can still form a bond with a spirit. That’s why I do it for people like him. [...] Johan: I'll fight for everyone who believes in me, and I'll do it with my Duel Monsters. Judai: I'm jealous you've got feelings like those in you.

Becoming a hero who uses their power to help others isn’t just a goal the story sets for Judai, it’s a goal that Judai sets for himself because of his admiration for Johan. Johan represents the idealistic hero Judai wants to be, but is also held back from because of his personality flaws. Johan represents the kind of heroic ideal that Deku is aspiring to be. 

Johan’s ultimate goal isn’t punishing the wicked, but to use his power to save others. 

Johan: Judai, it was my dream to save everyone through my dueling!

The story sets up the idea that it’s not enough for Judai to simply be strong, he’s also challenged to become a savior who uses his power to help others like Johan. Deku needs to “save by winning” and Judai needs to “Save everyone through his dueling.” However, Johan also adds another condition to what saving means. His idea of saving isn’t to defeat a villain, but rather his dream is to help connect spirits and humans together, even if there are humans who can’t see spirits. Johan doesn’t save people with the power of physical force, but rather the power of human connection. 

Should I save the villain?

Here the answer is "Yes",  because wants to become more like Johan someone who uses their power to help others not just for themselves.  Then we reach the third question

If I don't save the villain, can I really call myself a hero?

It once again comes to power and responsibility. Heroes have great power, and they are responsible in how they use that power, if they use it irresponsibly then there are consequences. Shigaraki wants to destroy hero society, because the heroes irresponsibly use their power to turn a blind eye to everyone’s suffering. 

People suffer when heroes fail to live up to their responsibilities. The entire conflict of season 3 is created by Judai failing to save Yubel. If Judai had helped Yubel when they most needed it, instead of abandoning them, then Yubel would never have been twisted by the light of destruction, would never have attempted to teleport the school to another dimension, would never have attacked all of JUdai’s friends. 

These consequences matter. Deku can turn his eyes away from Shigaraki’s suffering, but let’s say a hero failed to stop a robbery, or rather he didn’t even try, and because of that his mom was shot and died in the street. Would Deku consider the man who failed to stop a bank robbery a hero? When Spiderman let a bank robber go instead of trying to stop him, was he being a hero in that moment? Both the stories and the characters themselves have defined heroes as people who use their powers to save others, therefore if Judai and Yubel fail to save their villains then they can’t be called heroes by the story’s own definition. Now let’s finally return to the question of "Can I save the villain?"

Was there ever someone you couldn’t save?

m going to start with Yu-Gi-Oh Gx as a positive example of how to save your villain. Gx works for two reasons. One, it’s established from the start that Yubel isn’t beyond salvation, and two, it makes it so Judai can’t win without saving Yubel. The conflict of the story does not end until Judai makes the decision to save Yubel.  In some ways the writing is even stronger because Judai is directly responsible for the pain and suffering that Yubel went through that turned them into a villain in the first place. Yubel isn’t just a victim, they’re specifically Judai’s victim. 

Yubel is a duel spirit who is also essentially Judai’s childhood friend. A duel spirit just like the kind that Johan wants to save. During their childhood Yubel got too overprotective of Judai, and started to curse his friends for making him cry or upsetting him in any way. Until everyone Judai’s age started avoiding him and Judai became all alone with only Yubel for company. Judai’s decision was to abandon Yubel at that time. He took the yubel card and shot them into space, hoping that being bathed in space rays will somehow “fix” what was wrong with them. I know that’s silly but just go with it. Judai abandoning Yubel had the unintended consequence of Yubel being subjected to the light of destruction, a corrupting light that subjected Yubel to years of pain. This pain literally takes the form of Yubel burning alive.

Yubel connected to his dreams called out for Judai every night, only for Judai’s parents to give him surgery that repressed his memories of Yubel causing him to forget them entirely. Yubel then spent the next ten years alone in space, continuously subjected to painful torture, with their cries for help being ignored. 

"I was suffering even as you came to forget about me..."

Yubel is then met with the question of how can Judai treat them this way if they loved him so much? As from Yubel’s perspective, they’ve only ever tried to protect Judai, only for Judai to not only throw them away, but subject them to painful torture and ignore their cries for help. Judai effectively moves on with his life, goes to duel academy, makes friends while Yubel is left to suffer in silence all but forgotten. This is where Judai’s ignorance has serious plot consequences. 

It’s not just the pain that Yubel endured that made them snap. It’s that their pain went ignored. 

Yubel holds out the faint hope that Judai will answer their calls fro help until they finally burn up upon re-entry into earth’s orbit. At which point they’re left as nothing more than a single hand crawling on the ground.  Yubel who cannot fathom why Judai would cause them so much pain, and then forget about them, convinces themselves that Judai must be causing them pain, BECAUSE he loves them.

But you see, I couldn't possibly forget about you in the time that I've suffered...

Judai is allowed to move on with his life, to make friends, to spend the next ten years doing so while Yubel is subjected to ten years of agony. When they finally escape their painful torment, they see all the friends Judai has made while they’re left alone and forgotten. However, Yubel’s goal isn’t revenge. Rather, it’s to make Judai share and recognize their pain. WHich is why I said it’s not the fact that they were made to suffer, but their suffering is ignored. Yubel’s entire philosophy revolves around the idea that sharing pain is an expression of love, and that they and Judai share their love for each other by hurting each other. 

"That's why I sought to fill all those linked to you, your world, with both sadness and anguish..."

For Yubel, making all of Judai’s friends suffer and Judai themselves suffer is a way of making them and Judai equals again. They want to show “their love” for Judai, but it’s more about forcing Judai to recognize the pain he’s caused them by forcing him through the same pain. Yubel’s philosophy of sharing pain is actually a twisted form of empathy. 

They’re not entirely wrong either, that even people who love each other can cause each other pain, and that if one person is suffering alone in a relationship or the suffering is one-sided then there’s something wrong with that relationship. 

Yubel: I get it now… You weren’t in love, with Echo. Yubel: No.. you may have loved her just enough to clear the conditions in palace for you to control Exodia, but the you didn’t truly love each other. Yubel: You were only unfairly hurting her, while you stayed unharmed. You wouldn’t suffer. You wouldn’t suffer. You wouldn’t be in pain. Amon: What are you getting at? Yubel: I’ve been hurt! I’ve suffered! I’ve been in pain. That’s why I’m making JUdai feel the same things I did! 

Yubel’s twisted theory of love, is a pretty thinly veiled cry for empathy.

They break out into tears when talking to Amon about the way they’ve hurt and suffered. They clearly state upfront that their goal is for Judai to recognize their love. One of the first things they say to Judai is a plea for Judai to remember them.

Yubel is presented as a very human character suffering through a lot of pain throughout their entire villai arc, they break down into tears multiple times, they cry out in agony, they're visibly suffering and you see their mental walls begin to break down when Judai denies them any empathy.

Yubel is actually incredibly clear and straightforward about their desire to be saved by Judai. However, Judai doesn’t lift a single finger to help Yubel the entire arc, even though they themselves admit they are directly responsible for Yubel’s suffering but they helped create who they are today. 

Judai plunges into a different dimension and gives up everything to save someone, but it’s Johan, not Yubel they try to save. You have Johan, the perfect friend, and perfect victim that Judai gets obsessed over and will not stop at anything to save, and then you have Yubel, the imperfect victim that is actively harming Judai and all of his friends that Judai chooses to ignore. The whole season Judai only focuses on saving the perfect victim Johan, and this is clearly shown to be a flaw. Judai doesn’t just ignore Yubel to save Johan, he also ignores every single one of his friends. 

Judai only caring about saving Johan, and deliberately ignoring and abandoning the friends who came with him to help, essentially abandoning them the way he did Yubel leads to another consequence. After he abandons them they get captured, rounded up, and actually die and become human sacrifices. 

Losing his friends, causes Judai to snap. Judai becomes the supreme king and decides power is all that matters; he starts killing duel spirits en masse in order to forge the super polymerization card.  Which means being left alone, suffering alone, being abandoned by everyone causes Judai to snap the exact same way that Yubel did. 

In fact Judai is only saved from his darkest moment, because two of his friends sacrifice their lives, trying to get through to him and appeal to his humanity. At that point Judai’s friends could have just chosen to put him down like a mad dog, to punish him for the amount of people he’s killed, but instead they try to save him because of their friendship. 

I just want to save my friend. That is all.

By the time Judai is facing Yubel in their final fight, Judai doesn’t have the moral highground against Yubel in any way whatsoever. They’ve both lashed out because of the pain they endured and killed countless people in the process of lashing out.  The only real difference between them is that Judai is lucky. He had friends to support him at his lowest point, while Yubel didn’t. Does Judai learn from Jim’s example, and go out of their way to save Yubel the same way they were saved because Yubel is still a friend? Nope, Judai tries to kill Yubel at this point. 

I made a lot of friends... And they all taught me something… real love is wide enough, large enough and deep enough to fill the universe. Your so-called love is only a conceited delusion.

Like, Judai, sweetie baby honey darling. How was Yubel supposed to make friends when they were floating in the empty void of space?

Judai hasn’t learned, they are still ignorant, and still turn a blind eye to Yubel’s suffering. After all if his love is wide enough, large enough,and deep enough to fill the universe then why don’t thy have any room in their heart whatsoever for empathizing with Yubel?

Judai making friends while Yubel was trapped in space doesn’t make Judai a better person than Yubel, it makes Judai lucky. Judai doesn’t even appreciate that luck, because he treats his friends like garbage. It’s not about whether Yubel is worthy of salvation, because Judai is a mass murderer and his friends still went to great lengths to save them anyway. It’s that Judai doesn’t want to empathize with Yubel, because they still want to remain ignorant and irresponsible. Judai wants to continue playing hero, with a very black and white definition of what a hero is. By this point Judai’s killed lots of people, but if he makes Yubel the villain in the situation, he can keep playing hero. He doesn’t have to look at himself and what he’s done, because blaming everything that happened on Yubel and then putting Yubel down like a mad dog allows Judai to absolve his own guilt. Judai practically ignores Yubel’s cries for help, even when Yubel spells it out for them.

I couldn't have lived with the heartache unless I felt that I was being loved...

At this point Yubel themselves acknowledges that their love was just a delusion. That it was a coping mechanism, because they couldn’t live with all the pain otherwise. WIthout it they would have just died, which makes Judai unmoved. The implication here is that Judai thinks yes, Yubel should have just died in that crater. It would have been easier for Yubel to die a perfect victim, then for Yubel to crawl out of that crater and go on to hurt other people. While that may be true the same can be said for Judai - it would have been better if Judai died rather than become the Supreme King. His friends could have put him down like a mad dog, you could have even called that justice - but they didn’t. Judai making no attempt to save Yubel isn’t because he thinks it’s morally wrong to save someone who’s killed as many people as Yubel has, or because he thinks he can’t forgive Yubel, it’s because Judai is taking the easy way out. Johan is a nice, easy victim to save, because he’s Judai’s perfect boyfriend, while Yubel is a complex victim that requires Judai to understand their suffering. Even the act of saving Johan isn’t about Johan himself, it’s about the fact that Judai feels guilt over Johan’s disappearance. What Judai wants isn’t really to save a friend, but to stop feeling guilty over that friend. Judai isn’t just disgusted by Yubel’s actions towards his friend, he also wants to avoid the guilt he feels over causing all of Yubel’s suffering, because it requires acknowledging the complex reality that he is both victim and perpretrator in this case, just as Yubel is both victim and perpetrator. 

So how can an arc where Judai doesn’t try to save Yubel until the last possible minute, be better than an arc where Deku makes it his goal for the final act of the manga to save the crying boy in Shigaraki? 

It’s because the story does not let Judai get away with his continual refusal to empathize with Yubel. Yubel’s entire character revolves around empathy, in the form of sharing pain. As a duel monster, Yubel’s effect is that they are a 0/0 attack monster who is immune to all damage, but when you attack them they deal all the damage back to you. Which means that Yubel will respond to all the pain they feel, by causing you just as much pain in return. Yubel is not a character who can be defeated in a fight, or a duel. In fact they’re the only Yu-Gi-Oh villain who never loses a duel once. The most Judai can do is duel them to a draw, and they draw three times. Yubel wins against everyone else who challenges them.  In a way Yubel is like Shigaraki, the ultimate, unkillable enemy that can’t be done away with violence. Judai’s refusal to empathize with Yubel or attempt communication also makes them worse, every time Yubel is hurt they escalate. THe more Judai hurts them, the more they will hurt in return, it’s a cycle that will never be broken simply by killing Yubel, because Yubel is unkillable. 

Not only that but the story has gone to great lengths to show that saving Yubel is the correct course of action. If Judai doesn’t save Yubel, he’s basically spitting on the selflessness Jim showed in saving him. In fact if he doesn’t save Yubel, Judai is contradicting his own words on what makes a good friend. Sho once asks Judai after witnessing his brother change, what he should do if a person you lov ehas changed into an entirely different person. What if they're a person you don't even recognize any more? A person you don’t even necessarily like anymore? 

That's why if it were me. I'd probably just be looking after him until the very end, even if I didn't like him. I'd do it cause I think it'd prove that I care about him.

Judai doesn't even say that Sho is obligated to save his brother or morally redeem him, just that he has to keep looking at him instead of turning away or ignoring him.

Judai is being a bad friend, by his own definition. By choosing to deliberately look away from Yubel, Judai’s not living up to his advice for Sho for how you treat people you care about. 

Which is why the resolution for Judai and Yubel’s arc is so important, because it’s done by Judai finally acknowledging Yubel’s pain, and promising to watch over them from now on, words that are followed by the action of physically fusing their souls together so they’ll never be alone again.  Judai doesn’t just say pretty words about how they won’t ignore the crying child inside of Yubel, but instead he makes a sacrifice to save Yubel at risk to themselves to show their words are backed up by actions. Judai says Yubel will never be alone again, and then he commits. 

"And even if that means I won't exist anymore... I don't care."

Judai has resolved his character arc by this action, because Judai is finally taking on responsibility and that responsibility is watching over Yubel, so the two of them can atone together. Judai even says himself this isn’t an act of sacrifice on his part, but rather him finally accepting adult responsibilities. 

Judai: I wouldn't sacrifice myself for you guys. I'm just going on a journey to grow from a kid into a man.

Judai needed to save Yubel to complete his character arc and grow as a person. If Judai hadn’t saved Yubel, he would have still remained an ignorant child. By learning not to turn a blind eye to Yubel’s pain, and also smacking sacrifices and physically doing something to atone for the way they ignored Yubel up until this point they’ve not only saved Yubel they’ve also done something to address their wrongs. This also continues into the fourth season where Judai’s personal growth results in him learning what kind of hero he wants to be as in Season 4 in order to atone for the spirits that Judai slaughtered, he decides to leave his friends behind and walk the earth with Yubel helping spirits and humans get along with each other. In fact Judai’s final speech as a character isn’t even about how strong he is as a hero, but how weak he is as a person.

And I put my friends through some rough times. Form that, I figured a few things out... all I can do is believe in them.

The lesson Judai learned is because he’s weak, he needs to empathize and believe in other people the same way that his friends once believed in him when he was at his lowest point. Judai’s not the strongest hero, he’s the weakest one, but that gives him the ability to empathize with people who were lost just like he was, and guide them back from the darkness. 

The story of how Deku became the worst hero.

I’m going to say this right now it might turn out next week that Shigaraki is just fine, and he’ll use the overhaul quirk to reconstruct his body. However, even if that happens Deku has completely failed at his goal of saving Shigaraki for the reasons I’ll illustrate below. In theory, Deku’s arc of saving Shigaraki, and therefore winning by saving should be much easier for the story to accomplish and also much less frustrating to watch. After all, Shigaraki has been around since the beginning of the manga, he’s literally the first villain that Deku faces. He’s also the first villain that Deku talks to, where he brings up the idea that there were some people All Might failed to save. There’s also many intentional parallels between the two characters, the entire manga is about their parallel journeys of becoming the next generation hero and the next generation villain. Shigaraki even directly quotes the line at one point that all he wanted was for someone in his house to tell him he could still be a hero, the same line Deku said in the first chapter was that he wanted his mom to tell him to be a hero instead of apoalogizing to him for being quirkless. 

Not only is the setup for Shigaraki and Deku made obvious (Deku can redeem Shigaraki by telling him that he can still be a hero too), but Deku himself states out loud that he wants to save the crying child inside of Shigaraki. 

Judai runs away from Yubel the whole time, whereas Deku is running towards Shigaraki and actively makes it his goal to understand Shigaraki and continue to see him as a human being rather than a villain.  The story also makes it clear that saving Shigaraki is necessary to saving hero society as a whole. After all Yubel is just Judai’s victim. Whereas Shigaraki is the victim of all of society. He’s the crying child who was ignored. The cycle won’t be broken if heroes continue choosing to ignore people like Shigaraki, because more victims will grow up to replace him. 

Shigaraki: Everything I've witnessed, this whole system you've built has always rejected me. Now I'm ready to reject it. That's why I destroy. That's why I took this power formyself? Simple enough, yeah? I don't care if you don't understand. That's what makes us heroes and villains.

Shigaraki rejects the world because the world continues to reject him. THe solution to this problem is not rejecting Shigaraki, because Shigaraki won’t go away, the system will just continue to reject people like Shigaraki. As long as heroes and villains don’t understand each other, they’ll keep being forced to fight and the conflict won’t end, because hero society is what engineers it’s own villains.

clear as day by the story itself. If the objective of saving Shigaraki is clear, then how exactly did the story fail in this objective? What went wrong? In this case it’s a failure of framing, and breaking the rules of “show don’t tell.” Stories are all about actions and consequences. When a character makes a certain action in a story, the way other characters around them, the world, and whatever consequences that action frames that action in a certain light. It provides context for how we are supposed to interpret that character in that moment. 

For example, when a character does something wrong and another character directly confronts them over what they did wrong, that frames them as in the wrong. The story is criticizing the character for what they did wrong. Context is everything in a story. Stories are just ideas, so they require framing and context to communicate those ideas for the audience. Certain character attributes can be strengths or flaws depending on the context. My go to example is that if you put Othello in Hamlet, the conflict would be resolved in five seconds because Othello’s straightforward personality and determination would have him kill Hamlet’s uncle without questioning things. Whereas, Hamlet constantly questioning and second guessing himself would lead to the worst ending possible. However, if you put Hamlet in Othello, then Hamlet wouldn’t fall prey to Iago’s manipulations, because Othello doubts and questions everything so he wouldn’t believe Iago the way Othello did. 

Hamlet’s contemplative and introverted nature can be a strength in one situation, and a flaw in another. Othello’s tendency to act without thinking things through can be a strength in one situation, and a flaw in another. Context matters, because context tells you how you’re supposed to interpret a certain characters actions, and therefore tells you more about that character. This is why people repeat “Show don’t tell” as the golden rule of storytelling, it’s one thing to say something about a character, it’s another to us the characters actions in the story itself to show them something about the character. 

What’s even worse then breaking the rules of show don’t tell however, is telling the audience one thing, and then going onto show in the narrative something completely different. In that case the narrative becomes muddled and confusing to read. If I the narrator say “Hamlet is someone who overthinks everything” and then in the story Hamlet walks up to his uncle and kills him with no hesitation, then the narrator is straight up unreliable. It becomes impossible to tell as an author what message I’m trying to get across about these characters, because I’m telling you one thing and showing another. 

This is why the writing fails in the second half of My Hero Academia because we are constantly told one thing, but then the story shows something entirely different and sometimes even contradictory to the thing we are being told. 

Judai is a much worse hero than Deku, he always runs away from Yubel, and we’re never directly told that he’s supposed to save Yubel either. However, the narrative is incredibly consistent. Judai’s behavior of running away is consistent with his character. All the other character call Judai selfish for abandoning his friends (and they’re not even talking about Yubel). Judai is never painted in any positive light for his actions, therefore we as the audience understand Judai’s behavior is wrong and he needs to fix it. The narrative makes it clear that Judai needs to grow up, and Judai is never rewarded for his refusal to grow up, he’s ruthlessly chewed out, not by his enemies but also by his own friends. However, the narrative isn’t merciless on him either. Season 3 of GX is dark, but it’s not grimdark. Even when Judai loses his way, he’s still shown love and compassion by those same friends who go to great lengths for his sake. The narrative criticize Judai but it never insists that he’s beyond redemption and needs to be put down like a mad dog. 

The message is very clear, that not only does Judai need to grow up, but he also deserves the chance to grow and change, which is why he should give Yubel a similar chance. In comparison the story sets out this clear narrative arc for Deku of understanding Shigaraki, but it never challenges him for failing to understand Shigaraki. If you listen to what the narrative says, how other characters describe Deku, and what Deku himself says and only read it on a surface level then yes, Deku’s goal is to save Shigaraki. If you analyze actions however, he is in effect just like Judai he never takes any meaningful action or steps towards Shigaraki, nor does he think of what saving Shigaraki might look like or entail. 

The story describes Deku as someone who is possessed by a drive to save others that eclipses all common understanding, but does the story give us any examples of that behavior?

Judai is characterized as a selfish, irresponsible child, and the story gives us countless examples of his immaturity and how it hurts others. Does the story of MHA do the same for Deku's purported virtues? Let’s run through Deku’s actions, step by step, the actions themselves and how they are framed in order to find any evidence that Deku possesses this drive to save others. Does Deku reflect at all on the question of:

Can Shigaraki be Saved?

Deku leaves on a journey to try to understand villains. When he makes a perfunctory attempt to understand and empathize with Muscle, and Muscle replies that some people are just evil does Deku keep trying to reach his heart? Nope, he just punches him. 

Well, if he’s failed in his goal of understanding a villain then does the story call him out on his failure? Does Deku face any sort of narrative consequence for that failure? Is he framed negatively for failing to understand Muscle, the same way that Judai is framed for abandoning Yubel? Nope. Deku doesn’t express any frustration at all over is inability to reason with Muscle. There’s also no negative consequence for Deku just choosing to punch muscle, it turns out that there was no reasoning with Muscle and some people are just bad eggs so Deku was right. It’s okay for characters to fail, but if a character fails and it’s not framed by the story as a failure then the writing itself as failed. Why even bother to include this scene in the first place if it doesn’t advance Deku’s character in any way? This scene in spite of showing Deku failing to understand someone actively paints Deku in a positive light, because of how much stronger he is ow that he can OHKO a guy that gave him trouble all the way back in the camp arc.

This scene doesn’t tell anything about Deku as a character, it just makes him look cool. In fact that’s precisely the problem, Deku isn’t adequately challenged as a character, because he’s never allowed to fail. Even when he does obviously fail at the things the narrative set out for him to do, he’s never challenged on those failures, because the priority isn’t to make Deku grow, it’s to make Deku look good.  As I said before, Judai is the hero because he’s the weakest. Deku is the hero because he’s the strongest. Well, next a big flaw on Deku’s part is that he worshippd the same heroes that were making the world corrupt. Heroes like Endeavor who created people like Dabi. So, does Deku take action to either criticize the older generation of heroes, or separate himself from them in order to try to be better than them? Nope, he teams up with them. Not only that, Deku can’t do something as simple as tell Gran Torino out loud about his plans to save Shigaraki. If Deku feels that Shigaraki is worthy of salvation then he should at least try to make an argument here about his ideal of saving others.

Now here’s the thing, if Deku hadn’t directly looked at the camera and told us he wanted to save Shgiaraki, would we be able to deduce his intentions from his actions? If you took away all of Deku’s internal monologue, and just showed him punching Muscular and saying nothing when Gran Torino says he may have no choice but to kill Shigaraki would anything about Deku’s actions indicate that he wants to save Shigaraki? Let me use avatar the last airbender as a positive example for a moment. People say that Aang’s desire to spare Ozai’s life comes out of left field, but like if you analyze Aang as a character down to their bending, and the way they react in situations they always prefer de-escalation, or taking a third option as opposed to confronting things head on. It’s literally why Toph says Aang has trouble learning earth bending, because as an airbender, he always tries to look for some other way to solve the problem, instead of a direct confrontation with force. As early as season one, Aang tells Zuko someone who has tried to kill him several times that he was friends with someone from the fire nation one hundred years ago and in a different situation they could be friends. Aang’s desire to save the Firelord may not have been told to us until the last possible minute, but Aang’s aversion to violence has always been a part of his character from the beginning. However, Deku never shows any similar aversion to violence. There’s basically no example where he ever tries to de-escalate a situation, or he avoids a conflict by seeking a third option. 

Anyway, let’s move onto the next example. In the confrontation where Lady Nagant fights Deku, when Deku learns the fact that the heroes were employing government hitmen to attack people for uhh… exercising free speech does Deku give any reaction to this information? When Lady Nagant says that Deku is only going to bring back the status quo, does he show her any meaningful evidence that he won’t do that.

Deku’s response is because the world is so grey, he needs to extend a helping hand to others. Which you know what thay could be a response. Deku saying that his response to the corruption of the hero world is that he now understands that society led some people down the wrong path, so his way of addressing the wrongs of that society is lending a helping hand to as many people as possible even people he used to think was irredeemable. 

I will give Deku the benefit of the doubt, I think this is an acceptable answer. I can’t save everyone, but that’s not going to stop me from trying to save as many people as possible and maybe I can save people who were this society’s victims on the way too.  However, does Deku demonstrate his resolve to extend a helping hand in any meaningful way. 

Deku is met with an armless, insane Overhaul who’s begging for someone to help heal his father figure in the Yakuza from his coma. This isn’t like Muscular who insists that there’s no helping him, Deku is met face by face with someone asking him for help. Deku’s gotta extend a helping arm whenever he can, because he knows some people were abandoned and led astray by this society… Unless that person is someone he doesn’t like personally. At which point he only helps them on a conditional basis. We are told Deku will save anyone and everyone, but Deku is met face to face with an armless man who is begging for help and Deku’s does nothing to help him. Deku’s not criticized for refusing to help overhaul either, it’s never brought up again. When Deku begins to experience a mental breakdown because of all the people he’s trying to help in the Dark Deku arc, we are told this is the result of Deku trying to save everyone, but we do not see Deku attempting to save a single villain after Muscular and Nagant. 

He exhausts himself beating up villains that AFO sends after him, and only helping innocent civilians. Which would be fine if this arc were about how Deku is running away from his real responsibilities the same way that Judai was running, but that’s not what we’re being told. We are told that this is all part of an arc of Deku learning to understand villains and be a hero.

Deku is asked “Can you save Shigaraki?” by the story, but Deku never at any point has to deliberate on that question. Judai doesn’t deliberate on that question either, but him choosing not to think about things and stay ignorant is the point. 

It’s actually fine to make Deku stagnate as a character. It’s fine to have him take the easy way out by just punching villains and giving up on them after one conversation. It’s fine for him to be empathetic to other people’s suffering, or even self-righteous. It’s fine for him to be ignorant. 

He could be all of those things if it was a part of a narrative teaching him to unlearn his behavior. In fact the narrative might have been better if Deku started out by saying he didn’t want to save Shigaraki, that there was no choice but to kill him, because then at least his actions would be consistent with his words. Then his lack of empathy and his tendency to resort to violently beating up villains instead of avoiding violence would be character flaws he could work on. Deku however, is presented to us as this empathic hero who is always willing to give others a second chance though he never actually sticks his neck out in order to do so. Continuing on with our slow crawl through MHA, one of Deku’s friends is revealed as the traitor. Deku has a heartwarming scene fo saying that Aoyama can still be a hero, but look at his actions. He lets the adults in the room physically tie Aoyama in a straightjacket and imprison him, for the crime of… doing bad things while he was in a hostage situation. Apparently, if a bank teller helps the bank robber by giving them money when the robber has a gun to his head, the swat team should just snipe the bank teller. Not only does he not defend Aoyama against the adults, or stand up for him, or tell the adults they’re wrong to treat Aoyama a clear cut victim who had a gun to his head and was bing held hostage like he’s a villain - he also lets the adults use Aoyama an innocent victim as bait in order to lure out AFO.  Deku tells Aoyama he can still be a hero, but he doesn’t defend Aoyama as a victim of being taken hostage, nor does he stop the adults from further taking advantage of him and throwing him right into danger. Some people are just led the wrong way that’s why they need to be extended a helping hand, but fuck Aoyama I guess. He needs to earn the right to be sympathized with by physically putting his life in danger. 

Deku can’t even go out of his way to save a friend who he’s known for the better part of a year, when that friend is a complex victim forced to do bad things. 

Then Deku and Uraraka have a conversation where they both, kind of ruminate on the idea that maybe the villains are human beings who are worthy of sympathy.

In fact Uraraka is actively trying to dehumanize Toga by looking at the destroyed city, so she won't have to think of Togaas a person.

The language here is also a major fault of this arc. It focuses far too hard on “forgiveness” over and over again. As I said before, saving Shigaraki isn’t about Shigaraki at all, it’s about Deku, and how he wants to use his power as a hero. Deku has even stated himself that he doesn’t believe that OFA is a power that should be used for killing people. So why does whether Toga or Shigaraki are forgivable or not even matter? It’s the same with Deku refusing Overhaul any sympathy. If he’s so morally opposed to abusers, then why does he work with Endeavor and defend him at every visible opportunity, even in front of his victims? Whether or not Deku can forgive Shigaraki doesn’t matter, because Deku is not the moral arbitrator or right and wrong. In fact Deku doesn’t even have any morals, so how is this a moral debate? Is there any point where Deku gives a clear definition of what he thinks right and wrong is? Does he quot Immanuel Kant to the audience? 

Batman doesn’t kill people, not because he thinks that every last person on earth can be saved, but because Bruce Wayne an incredibly rich white man thinks that maybe he shouldn’t have the authority to decide who lives and who dies. When Bruce doesn’t kill the joker, it doesn’t mean he thinks the Jokers actions are forgivable, it’s because Bruce thinks it’s not his place to determine whether someone has the right to live. 

The whole conflict that MHA presents us is that heroes pick and choose who to save, and only save the ones they deem as innocent. So, how does Deku saying repeatedly they can’t forgive Shigaraki contribute to that theme in any way? In fact by focusing on forgiveness, rather than whether or not he personally has the right to pick and choose who lives and who dies Deku is ignoring the elephant in the room. The question isn’t about whether Shigaraki’s redeemable or if his deeds should ever be forgiven. The question is whether Deku has the right to decide who gets saved and who doesn’t. 

We are told that Deku as a character is someone who wants to save everyone no matter what, so Deku shouldn’t be focusing on whether or not Shigaraki is worthy of forgiveness, he should be making an idealistic argument like Xavier does in this panel. Why doesn’t Deku talk out loud with Uraraka on how he believes his power is for saving others, and not killing? If he’s meant to represent some idealistic hero, then why doesn’t he even talk about his ideals? Why don’t I as the reader know what those ideals are?

I think Xavier’s ideals of forcing the X-men to provide a good example to the mutant community, in order to try to earn the respect of other human beings is wrong, but at least he has ideals.  He tries to inspire the other people around him to live up to those ideals. The story can criticize him for his ideals and point out how they’re wrong, while it can also uplift parts of his idelogy like where he believes there are no evil mutants. Deku has a chance to do the same to Uraraka, to tell her clearly, “I don’t think we as heroes have the right to pick and choose who we help…?” but he waffles. Not only does he waffle, but this moment is meant to be read as an indication that both Deku and Uraraka are sympathetic individuals who want to save their villains. They are supposed to look good and idealistic here and they don’t. For Deku it just seems like a repeat of his behavior with Overhaul. The only villains that are worthy of sympathy, are the ones that he personally decides are forgivable. 

The story isn’t about whether or not it’s moral to save someone who’s killed as many as Shigaraki has. The story never seriously discusses any sort of complex morality or moral philosophy. Once again to bring up avatar, yes you can argue Aang sparing the life of a war crimminal is bad, but Aang mentions on multiple occasions that he wants to retain the cultural values of the airbending people. Aang has a morality, a consistent morality, it might not be a morality you personally agree with but at least he has one. Deku hates abusers, unless he’s next to Endeavor then he thinks abusers should be given the chance to atone. Deku doesn’t believe that One for All is a power for killing, but he never stands up to any of the adults who are blatantly trying to kill Shigaraki, he doesn’t even express out loud to Uraraka that he doesn’t think heroes have the right to decide who lives and who dies. In fact he’s given the perfect opportunity to, when Hawks kills a villain and it’s broadcast live on the news in font of everyone, but Deku never has anything to say about that. The reason Deku and Uraraka both put such an emphasis on “forgiving” their villains has nothing to do with the story itself. It’s because the author Horikoshi, is afraid that some people will misinterpret his story as saying that he actually thinks that saving a villain like Shigaraki means that he condones mass murder, so he has to have the characters talk about not forgiving Shigaraki. 

Judai doesn’t have any consistent morals either, but once again that’s the point and something the story relentlessly calls him out on.

Cobra: Fortune would never smile on a fool like you who fights while prattling on about enjoying duels.  Cobra: You are certainly a talented duelist. But you have one fatal flaw.  Judai: A fatal flaw? Cobra: Yes, your duels are superficial. Someone who fights with nothing on his shoulders, cannot recover once he loses his enjoyment. What a duelist carries on his shoulders will become the power that supports him when he's up against the wall! Cobra: But you have nothing like that! Those who go through life without anything like that cannot possibly seize victory.  Cobra: But I know that nothing I say will resonate with you... because you have nothing to lose but the match.  Judai: I...  Cobra: Afraid aren't you? Right now, you have nothing to support you. 

Judai’s regularly called out for his superficiality. Judai is only a hero because he’s strong and wins fight, he doesn’t feel any responsibility towards other people, and in fact he loathes having to feel responsible for others. Judai isn’t just naive, he deliberately chooses to remain ignorant. Since he’s ignorant of his own faults, he makes awful decisions when it comes time for him to lead, and his friends die because of choices he made. We are told that Deku doesn’t want to remain ignorant, that he wants to understand villains, but Deku’s actual actions are him continuing to ignore society’s ills and the suffering of victims. In fact if you take away Deku’s internal monologue and the narration, Deku’s actions almost exactly mirror Judai’s.

Deku is just as superficial as Judai, and he also doesn't want to spend any time thinking about what kind of hero he wants to be, but the narrative never punishes him for it.

Judai is asked what burdens he has to bear and he has to meaningfull answer that question, Deku is allowed to get away with not having to think about anything. Deku remains superficial. Both Judai and Deku spend the entire arc running away from their villain rather than confronting them in any meaningful way. They both never express out loud any sympathy for their villain, or try to empathize. THey both never step down from the role of hero, and only confront their villain as a hero, because they don’t want to think about themselves as complicit or in the wrong. Shigaraki and Deku’s final confrontation mirrors Judai and Yubel’s but without the same clear framing. THe entire time Yubel is trying to get Judai to empathize with them, and Judai only responds with physical violence, because they don’t want to stop being the hero and because they can’t see Yubel as anything other than the villain.  As soon as Deku arrives on the battlefield (by the way everyone else and their mom pointed this out, but Deku who doesn’t think OFA is a power for killing, is completely okay with a plan called the “Sky coffin plan” where every other hero was clearly trying to murder Shigaraki).

When Deku arrives he asks if Shigaraki is still in there, but he doesn’t do anything to try to reach Shigaraki, he jumps right to punching him. In fact he never tries anything besides punching him as hard as possible. How is punching Shigaraki with the force of a thousand suns saving him exactly? How is that different from how he tried to defeat Shigaraki the last war arc, before he saw the image of the crying child that made him want to try a different approach in saving Shigaraki?  In Judai’s final fight with Yubel, it’s made explicitly clear that Judai is not trying to save Yubel, and that’s a fault on his part. In fact Judai gives the traditional “I have friends, and you don’t” speech to Yubel but it’s a subversion of how that speech is usually used. Usually that speech is used to show that the protagonist won because of they valued friendship,while the villain treated their friends poorly and only cared about power. However, it’s ironic in this case because Judai got all of his friends killed. Judai treats his friends like garbage. This speech isn’t used to show that Judai is winning because he values his friends more than Yubel does, it shows that Judai is a hypocrite, playing the hero in this situation where they are just as bad as Yubel. Judai’s not morally superior, he’s just lucky that he has good friends. Friends that were willing to save him. The only connection Yubel has to anyone else, Yubel’s only friend is Judai and Judai is a shit friend. 

In fact, Mirio tries to give a version of the “You don’t have any friends” speech to Shigarkai, only for Shigaraki to get mad and tell Mirio that he does have friends and people he wants to protect. 

This fact is also something that is blatantly ignored by Deku, even though Mirio tells him about it… even though we are told that Deku is trying his best to see the humanity in Shigaraki. 

Judai blatantly admits they’re trying to kill Yubel. Which makes them a worse person, but a better character than Deku, because their actions are clearly framed by the narrative and consistent. 

On the other hand we are told that Deku doesn’t want to kill Shigaraki, and yet everything Deku does makes it look like he’s just trying to kill Shigaraki and put him out of its misery. If we didn’t have Deku stating out loud that he wants to save Shigaraki and wants to see him as a human, there’d be nothing in his actions to indicate that he’s trying to avoid killing Shigaraki. Deku says he can’t pretend he didn’t see Shigaraki crying, but like, does he ever hesitate to punch Shigaraki, does he ever think that causing Shigaraki more harm is wrong when he’s already suffered so much? Deku says that Shigaraki is a person but does he treat him like a person? Does he try to talk to him like a person? To use avatar again, Aang does talk to Zuko pretty early on. Deku doesn’t even give the classic “We could have been friends under different circumstances” speech. When Shigaraki resists Deku’s attempts to see him as a person or emapthize with him, Deku’s response is to just resort to punching harder. 

Which is in effect the same thing Judai does to Yubel, just kill them as a villain so they don’t hurt anybody else, but framed in an entirely different light. Judai is shown to be ruthless, and cold in his attempt to only settle the conflict with Yubel by violently putting them down. On the other hand we’re being told that Deku is compassionate and empathic while he punches Shigaraki with the force of a thousand suns. 

There’s another eerie similarity between both of these final confrontations. At the climax of the confrontation, both Judai and Deku have a psychic vision where they see events from Yubel and Shigaraki’s childhood. This vision is supposed to help both characters understand the good in the villain they’re facing.

Let’s see the contents of this vision and how the visions change each character. Judai is shown a vision of his past life where Yubel sacrifices their entire body, and even their humanity to go through painful surgery to turn into an ugly dragon, all for the sake of protecting Judai in a previous life. 

Judai is then forced to witness the good side of Yubel they’ve been ignoring all along to paint them as a villain. Yubel is simultaneously extremely selfish and willing to hurt people Judai cares about, but they’re also extremely selfless and will do anything to protect Judai and have made great sacrifices in the past for Judai’s sake. Deku gives lip service to not ignoring the humanity in Shigaraki, but Judai is literally forced to acknowledge the humanity in Yubel. Not only that, but Judai changes his behavior immediately after learning this new information. After seing the sacrifice that Yubel made for him in the past, Judai responds with a sacrifice of his own. A sacrifice that perfectly mirrors the sacrifice that Yubel once made for him. Yubel gave up their humanity for Judai, so Judai fuses his spirit to Yubel’s, becoming a human / spirit hybrid so Yubel no longer has to be alone. 

Judai also doesn’t just fuse their soul with Yubel’s in order to stop Yubel from destroying everything, it’s because both of them at this point need to atone together, and Judai is fulfilling his responsibility of watching over his friend until the end to prove that you care about them - as he said to Sho. Judai’s also fulfilling Johan’s dream of helping repair the bonds between spirits and humans, by reconciling with Yubel and repairing their bond. It’s also Judai atoning for his previous behavior of abandoning Yubel, by choosing to stay alongside them as they both atone together. Deku does sacrifice OFA during the fight against Shigaraki, but their sacrifice isn’t to help Shigaraki, but rather doing psychic damage to Shigaraki by using OFA is the only way to defeat them. He transfers OFA in order to break Shigaraki’s brain so he’ll stop reissting and Deku can beat him down. Judai fuses their soul together with Yubel out of empathy and a responsibility they feel to help their friend fater abandoning them, Deku transfers One for All to Shigaraki in order to hurt him and make him easier to punch. It's funny that Deku doesn't travel to Shigaraki's mind to learn more about him, but instead with the specific intent of harming him.

Once he's inside Shigaraki's mind, he doesn't take time to reflect on how Shigaraki used to stand up for bullied kids, or how he wants to be a hero to villains because no one else will stick up for the outcasts in society. No, he only care about Shigaraki when he takes the form of a child crying for help.

In the aftermath of the psychic vision Deku’s behavior doesn’t change towards Shigaraki in any way either. You could say he sacrificed his own arms in order to try to comfort Shigaraki within the depths of his own mind - but that’s not a real sacrifice either because his arms immediately come back.  When Judai learns about the sacrifice that Yubel made in a previous life towards him, he stops seeing Yubel as an enemy and finds a way to resolve things peacefully between them. When Deku lanterns that Shigaraki’s a victim of All for One, and that his entire life was a lie, when he sees Shigaraki’s suffering first hand does his beavior twoards Shigaraki change in any way? 

When he sees Afo has taken over Shigaraki’s body again, does he try to shout for Shigaraki, to tell Shigaraki to fight from the inside, to reassure Shigaraki that he’s still in there that there’s still good in him? Nope. He just punches Shigaraki some more.

What Deku needed to tell Shigaraki is so obviously set up by the narrative too. Shigaraki wanted just one person in that house to tell him he could be a hero. Deku wanted his mother to tell him he could be a hero if he was quirkless. Deku sees that Shigaraki started out as a boy who wanted to be a hero, and who was manipulated into being a villain but does he try to appeal to the boy inside of Shigaraki by telling him he can still be a hero? Does he now see the good in Shigaraki? Nope, he just tries to kill him by punching him really hard. 

I purposefully chose the images for the banner of this post, because it shows how differently MHA and GX treated its villains in the end. Yubel is embraced by Judai in the end, Shigaraki evaporates into dust.

"Judai, now that our souls have become one we will never be separated again. I have now been filled with your love and power. Let us fight together, against the wave of light leading this universe to destruction!"

Shigaraki could so easily have been given the love and empathy that Yubel was shown, but instead their life ends with no show of empathy from Deku, and with them dying believing that their long life of tragedy meant nothing in the end. Shigaraki realizes he's a crying kid, but he's never comforted.

Shigaraki: I only stole my body back from Master, and I didn't destroy anything. "In the end, I was just as you said... A crying kid, huh?"

Yubel is embraced and comforted, Shigaraki disintegrates into nothing.

One of these stories is apparently an optimistic story about heroes saving people, but it ends with the lifelong victim being killed in the most nihilistic manner possible, never receiving comfort, and never achieving anything with his long life.

The other story is a silly anime about card games, shows that when people are alone and suffering they can lash out and do terrible things. That all people are weak especially when they're alone, but the solution isn't to abandon them, or condemn them for their faults, but to believe in them and help uplift them the same way that Judai decides to uplift Yubel so they can atone together.

Which is why Deku gets an F in being a hero. Go directly to summer school. Do not pass Go. Do not collect $100. 

[jiabeewrites]

so this is what i've gathered from the memes and tumblr posts:

(please do not take this as 100% accurate. it's probably only like 78% accurate)

TITANIC II:

a few billionaires + a 19 year old + one other person(?) went into a "submarine" that wasn't actually a submarine

it was controlled by a VIDEO GAME CONTROLLER

and they were supposed to explore the titanic

and the submarine thingie didn't actually work and they KNEW THAT before getting on

and it imploded

and they all died

the only person anyone has sympathy for is the 19 year old bc he didn't wanna go on but wanted to make his dad happy

also celine dion is trending lmao

and fanfic is being written for the submarine (im slightly concerned)

oh and the company who made the submarine is called oceangate

this link. that's it, that's the addition.

oh yeah and @hkayakh said that a documentary is being made about this???

RUSSIA:

there's a coup

and there's basically a civil war

and the person in charge of the coup said that he's trying to topple russia's military leaders

and ukraine just took back some of their land

also the troops stopped for coffee before fighting

important addition by @chimp-prolly-not-typing-hamlet: the rogue battalion that rebelled against Putin is a private paramilitary organization called Wagner’s Group which has been linked to far-right extremism and neo-nazism

GREECE:

the greek coast guard capsized a boat full of hundreds of migrants, killing 80 with over 500 people still counted as missing, and the eu won't even investigate (according to @socialist-microwave-laser, please go check this post for more info)

so yeah fuck capitalism actually

THE STOCK MARKET???:

logitech is NOT suing oceangate, that was a fake post

EXTRA SHIT:

andrew tate is being charged for rape and human trafficking

and apparently elon musk challenged mark zuckerberg to a jiu jitsu cage fight

and andrew tate offered to coach elon musk

the season finale of helluva boss came out!!! (s1e8)

the season finale of helluva boss is coming out only right now because of some legal issues that vivsiepop + spindlehorse had. i think it had something to do with working with kesha and her label

FNAF TRAILER JUST DROPPED

yeah the world just decided to speedrun history today

(pls tell me if there's anything to add to this in the replies!!!)

[weishenbwi]

When I used to read more fics and post recs, this is (maybe?) what I did (it was a wip). It takes a long time to put all this together, but not as long as the time it takes to write a fic. I mostly read from AO3 because I liked that there weren't things on the side that could distract me (which is easy to do).

Even from watching on the sidelines, I've noticed the way Tumblr writers are treated now is almost superficial compared to when I first started using this platform. I'm not sure what the remedy for that is but I think tagging artists, their works, and commenting, or reblogging their content that you've enjoyed is important.

I've read a few fics recently on ao3 and I've made sure to leave comments each time. It doesn't take a lot to tell a writer how much you've appreciated their works and their effort. And I don't mean things like "Great fic!" I mean like writing what you liked about the fic or your favorite part etc. If a little spark lit up when you were reading something, tell them.

Why you should tag authors in your fic rec posts

Hello again. It's me. Honestly, I've felt this way for years, but I've never wanted to say anything until now, but honestly, I think it's time someone does. Every author is different, I recognize that, but with the uprise in reposters and plagiarism in the writing community on Tumblr, I feel like this post is important to make.

Keep in mind this is vastly a post regarding my own opinions of this matter, but if you are an author, or even a reader that agrees with any of the points here, feel free to share this to spread awareness.

So, without further ado, here are a variety of reasons you should tag and properly credit authors on your fic rec posts.

Believe it or not, fic recs are actually a very great source of feedback. When we're tagged when someone recs our fic, we get told, 'hey, this person likes our writing enough to tell other people about it, and share it with others who might like it as well!'. Without that tag, we have NO IDEA that you liked it enough to share it with others. Instead, our fic just gets reduced to the name or title we've labelled it as, and not the writer - the person, the human - who spent hours, days, weeks, months, or sometimes even years writing said piece that is linked to a recommended post. Supporting authors is so important, especially if you want them to continue writing!

That being said, and I don't know how many others will agree with me on this point, but I've always personally felt that people that don't tag authors on fic rec posts are almost trying to take credit for those particular stories. By not putting the author, it gives the allusion that the person making the post could have been the author of said story. Like, you can spare enough time and energy to link the post, but not hit a little @ key which takes about a third of the amount of time to do as it does to link the post? Given the amount of reposters and plagiarizers that are also on the rise lately on Tumblr, it just never sat right with me. The author put in the time and effort to create that story you're recommending. The least you could do is credit them with a proper tag.

Additionally, I just feel like it's common curtesy. Without a proper tag, to me, you're saying that the finished product is more important than the person behind said product who worked hard to create such a work for you to enjoy. If you can spend the time to make your fic rec post 'look nice', you can spend the two extra seconds it takes to tag the author. It shows you respect the person behind the writing as much as the writing itself. At least, to me.

Not tagging the author is essentially the same to me as if you never made the post in the first place. We have no idea about it unless we're lucky enough for it to pop up on our dash and we recognize our own piece of writing. I can't speak for others, but it literally makes my day when I see someone has tagged me in a fic rec post! Like, you cared enough to share my stories! You cared enough to tell people about me. It's one of the biggest compliments you can possibly give someone.

I know there are probably a plethora of other reasons as to why you should credit authors on fic rec lists and the like, but I've said the main points I want to here. If any other authors want to add any more reasons as to why you should tag them on fic rec posts, then by all means! Please, be my guest!

This post isn't meant to be a debate. I just felt it needed to be said, again, due to the rise in reposting and plagiarism that's been going around Tumblr recently, and also since it's just something I've always believed in.

Stories are meant to be shared. It's just nice knowing that our stories are being shared.

[wittlesissyb4by]

"Okay, so remember, once we have them in their diaper, it's really important that we praise them. They're going to be very averse to their new lifestyle at first, but they have to get used to it.

So we want them to associate their diaper with good things, at least in the beginning. Tell them they're a good boy, that they look super cute in their wittle diapurrs. Pinch their cheeks, boop their nose, and talk to them in your little singsong voice. Guys aren’t used to getting compliments and affection as much, so if they receive that sort of praise and physical touch while they’re in a diaper, they’ll warm up to the idea a lot faster than you think.

Now, once we’ve got them pampered and praised, I like to put a pacifier in their mouth. I find it really helps them regress a few years, makes them more docile, and it keeps them quiet other than their adorable little whimpers. It’s hard for them to do much arguing or fussing when they’re suckling a binky!

After they’ve been praised and regressed a bit, it’s time to *really* get them enjoying their diapers. That means: we’re going to make them cum.

I know, I know, this whole thing is supposed to be a ‘punishment’, but trust me, the ends will justify the means. If it makes you feel any better, the only time they will get to cum from now on will be when they’re in a diaper. That means no sex, and constant supervision to prevent masturbation. You control their orgasms, just like you control where they go potty.

So when we make them cum in their diaper, we never want to reach into the actual diaper. That kind of defeats the purpose. We want them to feel the padding, hear the crinkles, all while changing the way they traditionally garner sexual stimulation.

So what I like to do is place my palm right here on the outside of the diaper, right between their legs, and feel around for their winky. Those of you that have hubbies with little nubbies may have a harder time finding it, but honestly, even if you’re not directly on it, that’s okay. You’ll find they’ll aim their hips the right way for you.

Once you’re on it, you’re just going to do a simple kneading motion back and forth just like this. Long, slow movements at first. Don’t start too fast. You want them to really take in the feelings and sensations. You’ll even see them get a little desperate for more, and it’s up to you if you want to speed up and go a bit harder, keep that same pace, or just take your hand away and watch them wiggle and whimper.

But the most important thing is that this entire stimulation process is never silent. In addition to the crinkling, you want to continue praising them. Really dial up the baybee talk here. You should be reminding them what a good little boi (or gurl!) they are. Remind them what they’re wearing. Obviously they know they are in a diaper, but you need to vocalize it.

‘Wook how cute the wittle baybee is in his diapee!’

‘Hubby wooks so adorwable in his Huggies!”

Things like that.

If they have an erection—which I’m sure they will from all the rubbing—point that out to them: ‘oh my goodness! I didn’t think these pampers could make your pee pee so pointy!’ or ‘somewon sure is getting hard in their Huggies!!’

If they have messes, praise them for that as well. Nothing like getting complimented for pissing or pooping in a pamper. Again, we’re just trying to emphasize the state at which they’re in.

Another way to do that is to have them tell you. Make them vocalize these things:

“Tell me what you’re wearing little boi!”

“Why is it so plump? Did you do something in there? Tell me what you did.”

“Is that something a big boi would do??”

Make them use their little baybee voice, make them lisp, make them make it high-pitched, and make them do all of it with that pacifier still in their mouth!

If they do it properly, reward them with rubbies, if they’re stubborn or not performing up to your standards, pull your hand away. You’ll have them babbling like a baybee in no time!

I know some Mommies that will only do the rubbies while their hubby is jiggling a rattle. If the rattling stops, so do they. Feel free to be creative, as long as they’re being patronized while they’re pampered, you’re doing the right thing!

Alright, so after a few minutes—or maybe even a few seconds—they’re going to be ready to cum. Make sure you emphasize that they have to tell you when they’re close, and they have to do it in baybee talk. I like to have them tell me they have to make a ‘goo goo’. But you can use whatever term you want.

At this point we’re gonna do what’s called a ‘ruined’ orgasm. For those that don’t know, that’s where you get them right up to the edge when they’re babbling and rattling and goo goo ga ga’ing, wait until you see them first start to spasm—then lift your hand away. If you do it right, they’ll be past the point of no return, and all their little stickies will leak out, but they’ll only have a fraction of a pleasurable orgasm.

This is important, because it puts them in this sort of limbo. Where they’re a little satisfied but also still a bit horny and desperate. Don’t be surprised if they whine and cry about it either—you know how men can be. But that’s when you tell them one of your most important lines:

‘Maybe next time!’

That will leave them literally cumming back for more. They’ll be desperate for their next diaper, their next rubbie, or the next stage of their training.

But another important step here is to make them sit in their shame. Keep them in their sticky diaper for a bit, at least an hour or two. Let them feel the warmth of their little load that they made—all while they were in a diaper. And the only way they get to make a load like that again is…in a diaper. We really want to drive this point home. They are not going to cum without the constant sound of crinkling coming with it. They don’t get the love, touch, and affection while they’re in silly boxers and big boy clothes. The only way they get pleasure is when they’re in their pampers.

Wives never believe me, but i promise you, eventually, they’ll actually beg you to put them in a diaper, just so you can make them cum again.

But what we’re not going to tell them is that we’re eventually going to wean them off. They’re not going to get to cum every time they put on a diaper. For the first dozen times or so, yes, they get an orgasm (even a full one) every single time. But then it becomes “well only if your diaper is wet”, which makes them feel good about wetting, cause then they get a rubbie reward. But then they’ll grow used to that as well, so we have to constantly find ways to push their limits.

Wait until you see their face when they push their first poop into their pamper. They’re sooo embarrassed, but they’re willing to do it, all because you said you would give them a goo goo if they make a poo poo. But of course, what you don’t tell them, is that they’re gonna have to cum while they’re still inside their messy diaper. Don’t worry girls, if you get too disgusted, just make them turn over and turn their rubbies into humpies!!

Ohh I just love helping wives turn their useless/ungrateful husbands into helpless and desperate diaper dumpers! I know some that have their husbands wearing huggies 24/7, and sometimes even in dresses too! Even the most homophobic, chauvinistic pig can be turned into a pamper packer, all it takes is a little TLC.

Men are so easy, you can literally control their whole life, as long as you control when and where their balls get emptied. Which reminds me: next week, our workshop is going to talk about a little thing called a ‘chastity device’!!

~~~~~~~~~~~~~~~~~~~~~~~

I wrote a caption very similar to this a while back on one of my old blogs, but it was lost in the purge. I tried to recreate it as best I could, but I may have missed the mark. If you like my captions, please consider supporting me so I can keep making more. Go to allmylinks.com to follow me on other sites!

[miku-earth]

miku.earth update: September 15

Hi all! This is a lil progress update for those interested. In a rush? Here's the cliff notes!

The map site at miku.earth is back: sorry for the delay in fixing it! Check it out: it has six hundred Mikus!

Including the hyuge ol' queue, we've collected over 3,100 mikus!

Representation is important! I've been using some fancy stats to avoid bias. To that end, please help make sure we have a Miku in every African country!

oh hey! you clicked 'keep reading!' well hi! here is your Miku Direct. . The map site, miku.earth, is back!

I ran into a kinda complex issue and it was a whole Thing. I was working on the site the whole time though! Sorry for the delay, and I hope you enjoy now it's back up and running.

This site has six hundred Mikus on the map, and more are added each week. It was recently rebuilt from scratch (fun fact! I am not a web developer) so I hope it is far zippier and less glitchy as before. A mobile-friendly version is coming soon too!

Also: check out the new search feature! In addition to the title, artist name and region(s), it can also search for the categories indigenous and historic!

cw: this video involves moving around a 2D map with some speed. on the site itself site, this only happens when you hit the Enter key.

We've reached more than 3,100 mikus!

Even at its Miku-per-hour speed, the queue will continue until 2025 at least! This is with thanks to an incredible number of contributions, including donations of literal thousands of links.

Thank you so much to @awnowimsad, @worldmikuposter @the-hatsune-miku-trend, @communist-hatsunemiku, @council-of-beetroot, L-A and a whole host of DMers and emailers for helping get this far.

Oh and by the way: over two thirds of the collection are tumblr posts! Given that this was originally a twitter trend… if you know any Twitter users who are into this trend, please reach out. Some napkin math tells me there are at least 10,000 works of art total out there, which is, by the way, surreal. Let's make sure not a single one is lost.

If you're super curious, the collection is public! I have some tools to auto-annotate (I do not want RSI), but be aware the backlog isn't vetted.

Representation is important!

Fun as this trend is, this project was always intended as a serious study into how people represent their own culture through artwork. I'm no anthropologist, but I feel it is important to make sure this collection is respectful and bias-free. If we're to represent the world, we have to avoid underrepresentation!

To that end I've used some fancy statistics to calculate a "representation value" for each country. Here's a table if you're into the stats of it! This info is handy to help me with the queue – especially with tweets as they're a lil more effort than a carefully-tagged reblog. Of course, Indigenous, hyperspecific and low-note Mikus get priority.

And, well, of course you can see on the site there are purple regions for countries still missing a Miku. In particular, please help me make sure every country in Africa is represented.

Thank you for reading!

Phew! That was a lot. If you're still curious, please check the behind-the-scenes and source code. I work in the open! Even if my code is probably messy.

And if you're a programmer, issues and pull requests are welcome! This is actually a static site, so it's purdy easy to develop.

[gotham-daydreams]

Chapter 3 Sneak Peak/Teaser:

Some additions have been added for the sake of it, and may not appear in the actual post when Chapter 3 is up. However, they do serve as a little glimpse into how certain characters feel at the moment. Glimpses which aren't exactly shown in the final post either, at least not like they are here.

Regardless, I hope y'all like this little piece of what's to come!

-----

Tim felt his heart leap to his throat. No way, had he really...? No. No, he couldn't get his hopes up... but he just couldn't help himself. Could anyone really blame him? After all this time, he finally felt like he was getting close, but he couldn't be too sure. No, no. Not yet. Though right here, right now he would. He would confirm it, and make himself certain. There was no way around it. ... Yet his heart rate increased as his hands began to shake.

No way, he thought. No way.

[...] He had to be sure. He had to be certain. He couldn't afford to be wrong. Not this time around. Not over you.

[...]

He almost couldn't believe it, staring at the document where he had listed all of the information he gathered from his search.

... He had done it. He finally did it.

[...]

Tim just looked at his screen, still processing all that had happened, suddenly feeling unsure. 

Should he just keep this to himself, so that he could go after you? The others didn't know yet… they didn't have to know yet, this was a golden opportunity. Should he really be giving this up?

Though of course he just had to run his mouth before thinking things over. Of course.

[...]

Maybe... this whole thing wasn't such a good idea after all. Not with how he went about things, not with how he acted and just spit out the most important thing he had found without thinking, just out of spite.

If only he had gone about it differently. Then maybe he'd be with you instead of him.

--

Somewhere in your heart, you knew it couldn't last forever — and as if hearing your worries, an abrupt knock echoed throughout the apartment.

If only you had listened to how your heart stopped.

[...]

You made your way to the door, and yet here — right at the foot of it, an odd feeling began to blossom in your chest. You couldn't make sense of it, but as you reached for the knob, you found yourself stopping. It didn't feel like a good idea to open the door, and though you couldn't figure out why, you just took a small breath and pushed the feeling to the side. 

Clearly, you were having a weird night, but just to humor yourself you decided to 'comply' with whatever this feeling was, and check who was at the door by looking through the peephole instead.

It was only then did you understand.

[..]

Your heart leapt from your chest to your throat when more knocks came, basically pounding against the door. Fuck. They were getting impatient.

[...]

Your hands were sweaty, your heart was racing, and you could hardly stand still as you waited and waited.

Life in Gotham had always worked in mysterious ways, but this was too much too soon. Despite months having past, in the moment, it felt like it had been days since you had left. Like you had barely just gotten a taste of freedom, of love and appreciation — only for it to be stripped away from you. To be taken by the very people you once turned to for such things.

Perhaps even staying in the city was too close. Maybe you should've moved farther away when you still had the chance.

[...]

Oh god, you were really doing this.

Not wanting to waste any more time, you took a step forward and tried to take a breath. Trying to calm down your heart a bit as you gathered your composure, and acted as normally as you could manage.

Walking forward, you rounded the corner, and there he was in all of his tainted glory.

[...]

The way he looked at you made you feel uncomfortable to say the least, and his whole demeanor was nothing you had seen from him before. Not directed towards you anyway, and you couldn’t help but struggle trying to remember the last time he smiled at you in person, but maybe you had just gotten used to seeing his back turned to you one too many times. Maybe you had just grown too familiar seeing his smile in photographs and painted pictures, instead of real life.

[...]

Your heart felt heavy in your chest, and despite how you tried to ignore it, you could feel that something was wrong. Though you just chalked it up to how you aren't used to them talking with you, or smiling towards you or anything. Or you tried to anyway, but you were slowly beginning to doubt it.

[..] On any other occasion you'd try to let it go, but doing so didn't feel right. It felt stupid, and almost as if you'd put yourself in more danger by trying to, so for now you'd just keep it in mind. Even if nothing came of it, at least you were being cautious, right?

.. All you could do was just hope that this would end as quickly as it started. For both your sake and their's, but mostly for your own.

[...]

The absence of sirens in the air and occasional gunshots didn't sit right with you, and even the amount of people driving by wasn't as much as it'd usually be. The city didn't feel busy, let alone as alive as it would've been on any other night, and it bothered you. It was like some sort of silent evacuation was going on, or a lock down of some kind that not everyone was informed of. There were more whispers than there were shouts, and a kind of awkward peace instead of striking violence and chaos.

You couldn't believe it, was this Gotham's first real quiet night?

CRACK.

Perhaps you spoke too soon.

[..]

It was only then did you really take a look around, and notice how the people you passed by looked equally tense and nervous. An unsaid but shared feeling of tension and anxiety hung in the air, and now that you noticed it — you couldn't ignore it.

[...]

Small beads of sweat began to roll down your neck. Your hands felt clammy, and you tried to steady your breathing once you realized it was wavering. You tried to fix any outward reaction you noticed you were displaying before they could catch on, fiddling with your sleeves as you tried to reassure yourself.

You were going to be okay... right?

[..]

So, you tried to ignore how the pit in your stomach continued to grow with each second that passed. How each sound caused you to tense, and sometimes jump the smallest bit, but you tried to ignore that too.

... Seconds turned into minutes, and it was only now that you fully realized how long this short walk felt. The sidewalks stretched on, and the streets never seemed to end.

The longer time dragged on, the worse you felt. The more you wanted to get away and just shove them aside. You didn't want this, you thought you wouldn't see them again after leaving, because why would you think otherwise? After all that time of them treating you like you were never there? And now this?

Just this whole situation was giving off mixed signals, but the worst part about it? It made you feel like you should've given up sooner, and who knows? Maybe you should've.

[...]

At least now you were able to take a breather, even if it was only temporary. With someone familiar that you actually felt comfortable enough to be around. To talk with, and exist in their space.

Sure, you'd have to step back outside eventually, but for now? You didn't have to. Not until the order was ready, and you'd have to face them again. Though that wasn't now, was it? For now you could just... be.

To think you'd feel so grateful just to be able to breathe in your own space.

To think that they'd try to take that away from you too, but you wouldn't let them. You couldn't. Not freely or willingly anyway.

You had given them enough, why couldn't they understand that? Why did they suddenly want to have what you tried to give them so long ago? Haven't they realized that the opportunity has already past, and they're the ones that let it happen? Maybe. Maybe some of them do. Maybe some of them did. They were smart like that, after all. Some had to know. They had to.

But not this one. Otherwise he wouldn't be here.