#but like the colour in that one specific portrait

[kastillia]

I live.

[averlym]

may 19 is anne boleyn’s deathday ~holiday anon

paid the price with the swordsman's swing

[mychapel-004]

a note on "fordtramine"

just a thought while im working on a comprehensive history of bill.

by now i'm sure it's common knowledge that stanford's favourite colour is "fordtramarine", a colour only him and bill are able to see due to bill rewiring his optic nerve as a gift, but something i find very interesting is this page from thisisnotawebsitedotcom.com

specifically, that note at the bottom on the "beautiful" paintings ford submitted to (unsuccessfully) demonstrate the colour. most of them are normal, including a self portrait in gouache until you get to "(E) A muse, oil on canvas".

not only that, but in the abstract ford writes that "specific two dimensional entities may act in the same way as a prism, refracting light.... new perceptions"

something something devoting a painting to your muse in the colour that they let you name, that they gifted you with the ability to see. something something bill acting as a prism, like the crystals ford keeps all over his house, that ford can look through, like a doorway into a world entirely made of the weird and wonderful that you connect so deeply with. a world that you can never show anyone else, your canvases are always blank and no-one else has the eyes that you do, your study is rejected and no-one will hear you out.

do you think bill felt that way? growing up, able to see what others couldn't, "its not your fault you have that strange eye", "the doctor says three sips a day will make the visions go away", able to see an entirely different dimension to his own parents, always too different and too strange and too weird.

CODES: "THEY'LL SEE" "THEY'LL ALL SEE" "THE EUCLYDIAN DEPT OF VISION SUPERVISION"

growing up in a world where it seems that seeing beyond the norm is heavily punished, it's kind of telling that bill's gifts to ford are often relating to seeing or knowing things that ford would never experience without bill (new colours, new directions for his research, his mindscape, the portal). the gift of vision from a god who grew up being blinded. bill really is his all-seeing eye, in a lot of ways.

in the same way, fiddleford's gifts to ford almost always revolve around very human comfort (gloves to fit his hands specifically, a pet to keep him company, a snowglobe reminder of the time they spent together) comfort that he was too distracted to devote to his wife and child, only ever to ford who broke or threw them away.

fiddleford accepted ford for who he was, and he showed that through his gifts. all of ford's strangeness and brilliance, gloves made specifically to protect and warm six fingers, a pet that looked like him for him to ramble to when fidd is gone. bill's gifts were brilliant and tailored just for ford, but they were isolating. experiences he could only have with bill, things that made him stranger, more alone, pulled him further into the weirdness, the grey area. all in preparation for the day bill would take things too far, and pray ford, so alike to him, would join him.

[northern-passage]

Here are our contributors for the Interactive Fiction Raffle for Palestine!

Over 50 artists and authors from the IF community here on tumblr have joined together to run a donation drive this month! The raffle will be running from June 7th - June 21st. A separate post will be made with more information, including the rules and ticket submission form, once we're ready to launch.

Our goal is to raise as much money as possible for five specific fundraisers; we hope with us focusing our efforts we'll be able to make a tangible impact for these families. Tickets will be the equivalent of the minimum GoFundMe donation ($5USD/€5), and you will be donating directly to the families and then providing us proof of donation in exchange for your ticket(s).

We plan to raffle off all prizes. Below the cut is the list of contributors for both prize tiers, along with the prize they'll be offering. (Beware, this is a long post.)

While this drive is aimed at the Interactive Fiction community, a lot of the artists have offered to take requests from winners that include non-IF characters. These are specified with "non-IF characters included."

@beezhive

One half body couple “clean” sketch with flat color, non-IF characters included.

@depressed-sock

Half body to full body, single or couple, fully rendered in my style. Non-IF characters included.

@dast4rd

A painted single character portrait. Non-IF characters included (Any other media except for live action characters).

@fat-rolls-frictions

Halfbody of single character in SuperGiant Hades' style, less details, simple grey/no background, non-IF characters included.

@greypetrel

A painted single character portrait, non-IF characters included. (Bioware characters, Tolkien universe, Star Wars, the Arcana, DnD/Pathfinder/roleplaying fantasy games)

@hadrassians

One painted semi-realistic bust OR one half body couple sketch, non-IF characters included.

@harumeau

A full color single character bust portrait. Non-IF characters included (FFXIV, Baldur's Gate, Dragon Age)

@jdstrations

Single character, bust or half-body. Fully rendered or sketchy. Can be MCs, or a favourite character (IF or Non-IF included).

@matrinki

One painted single character portrait, IF exclusive only.

@merry-harlowe

Fully rendered full body single character with a simple background!

@moonless-if

One full-body character, coloured and rendered, IF characters exclusive only.

@morticrows

One full-body character in a chibi style, non-IF characters included.

@pdrrook

Portrait/bust, semi-realism, non-IF characters included.

@rab-bitly

Half body character in an illustrative style, non-IF characters included.

@swimmingrat

A character portrait (OC, IF, non-IF characters included) in watercolour, ink or mixed media.

@trashy-corvian

Half body couple/single, fully rendered. Non-IF characters included.

@vakarians-babe

Half body couple, flat colors (monochrome or full) with finished lines. IF and non-IF characters accepted.

@cowboyhell

Painted one character with background scene, OR one custom chibi keychain charm. Non-IF characters included.

@violetaristea

A fully rendered bust or half body of one character with a simple background, non-IF characters included.

@atheone

Fully rendered single character bust, non-IF characters included.

@harbingersecho

Painted single character or couple portraits (bust or half-body) with a simple/non-detailed background, non-IF characters included.

@i-am-gogo-btw

Offering half body couple, full color, finished lines, simple background, no furry, no mecha, no gore, no nsfw and no complicated stuff (like armor), OR a full body, full color, finished lines drawing of a single character (same restrictions). Non-IF characters included.

@doctormortum

Winners choice between A) one full body drawing, lined/coloured, of one character OR B) one ~waist up drawing, lined/coloured, of two characters interacting (romantic, platonic, anything goes!) original characters or fanart, IF or non-IF, all OK! SFW only.

@cryptidling

One or two character, half or full body painted/rendered drawing, minimal background, non-IF characters included, open to nsfw.

@ligiawrites

Rendered portrait of one or two characters with a transparent background. Non-IF characters included.

@night-triumphantt

Half body couple fully rendered with simple background, or full body single character full render, non-IF characters included.

@silkhorse

Half body couple/single semi-rendered, non-IF characters included.

@neloangelo0

Rendered half body, will do couples, simple backgrounds, non-IF characters included.

@artist-faur

A single character half-body with simple background, either rendered (with ink wash or pen shading techniques,) as lineart, or in a sketch style - all using ink and pencil. Characters are from both IF and non-IF (preferably from small, obscure fandoms and media) are included.

@phanosis

A single character portrait in a painted sketch style, non-IF characters included. Monochromatic background.

@kithj

One custom, but in-character & non-spoiler, scene based on the winner's prompt with their MC and one LI of their choosing from either The Northern Passage or Blood Choke. Explicit prompts included.

@damnation-if

A 1k~ non-spoiler, in-character snippet featuring the winner's MC and a character of their choice from Damnation and Buggery. Fluffy, angst, etc and explicit prompts included.

@of-crowns-and-echoes

A 1k non-explicit, non-spoiler snippet including characters from Of Crowns and Echoes. Could be MC + RO interacting, could be just ROs interacting with each other, or a snippet with some side characters. No gore or explicit stuff.

@attollogame

A 1k non-explicit, non-spoiler snippet including characters from Attollo. Could be MC + RO interacting, could be just ROs interacting with each other, or a snippet with some side characters. 

@burning-academia-if

A 1k~ prompt featuring your MC and chosen RO/poly from Burning Academia. Both Explicit and Non-Explicit prompts are fine! The prompt cannot include spoilers.

@hpowellsmith

An interactive playable date scene with an RO or polyamorous duo of your choice from one of my released games or WIP. Non-explicit - please specify if you'd like a kiss and/or fade-to-black included in the scene.

@nyehilismwriting

A ~500-1000 word snippet ft winner's MC and their RO of choice from Project Hadea doing activities as requested by the winner, so long as it is a) in character and b) non-spoiler related.

@mayhem-writes

A 1k non-explicit, non-spoiler snippet including characters from Sanctuary. Could be MC + RO interacting, could be just ROs interacting with each other, or a snippet with some side characters.

@devilishmango

A 1k snippet including an MC + RO from either Kenneski or The Story of Sin, based off a prompt from the winner. Can be explicit!

@gamesbyalbie

A ~1,000 word, non-spoiler, in-character snippet featuring characters from Zorlok, Mousetrap, Creating Goncharov, or System Processing. Could be a scene focused on the winner's MC interacting with one character, a scene focused on two characters interacting with one another, or a scene with the winner's MC and/or multiple characters present. Fluff, angst, spice, etc. are all possibilities as long as the scene is non-explicit.

@thecottageworkshop

500-1k word snippet with winner's MC + RO from Simple Moments or a general description of preferred favorite RO type (with the creation being at writer's discretion) with MC; fluffy or angst prompts included (could do monster ROs)

@tosahobi-if

A ~500-1000 word snippet with the winner's MC and their RO of choice from Tosahobi so long as it is in character and non-spoiler related. Any type of prompts including explicit are ok!

@if-mirrormine

A snippet between 500-1000 words featuring the winner's MC and RO of their choice from Mirror Mine. The theme (fluff/angst) and prompt is up to the winner as well.

@heart-forge

A ~500-1000 word snippet featuring winner's choice from Manor Hill, Bad Ritual, or Hybrid IFs. Can feature winner's MC, NSFW/angst/hurt & comfort/AU on offer as well as regular fluff, domesticity, etc. Winner may specify what they want to be happening, or let me choose.

@chthonicchromestudio

500-1k word snippet with winner's MC + any character from FFS, Another Northern Duke?! or a general description of preferred favorite RO type (with the creation being at writer's discretion) with MC; fluffy or angst prompts included (could do monster ROs)

@fiddles-ifs

A custom, non-spoiler, in-character snippet featuring the winner’s MC and a character of their choice from Greenwarden. Fluffy, angst, etc. and explicit prompt included. AUs also included.

@springsaladgaming

A 1k~ non-spoiler, non-explicit, in-character snippet, featuring the winner's MC and an RO of their choice from either Ninelives or Valiant. Prompts may be fluffy, angsty, etc.

@oblivious-melodies

One custom, in-character 500-2000 word snippet set within the world of Oblivious Melodies. It may include characters already in the IF or an original character within the world, designed to fit the winner's specifications. Snippets may include adult themes, but will not be fully explicit.

@chrysanthemumgames

A snippet of ~500-1000 words featuring the characters of the winner's choice from Fields of Asphodel (including the winner's PC if desired). Topic can be anything from platonic interaction to a lightly-spicy romance scene, subject to character and setting constraints.

@yuveim

A romance scene featuring the winner's MC on one of six romance routes, or a character-centred scene for one of five main characters in The Spirited: Origins.

@blood-teeth

A ~500-1000 word snippet of the winner's MC and their select RO from The Mouths of Elysium from a requested prompt from the winner. This snippet will not include spoilers.

@oscarwrites

A 500 to 1000 words snippet featuring the MC and/or any characters from the games The Eight Years Revolution, Gonzague or Better Off. Explicit prompts included.

@thelonelyshore-if

A 500-2k~ custom, non-spoilery snippet featuring the winner's MC and RO (or polyship or other character) from The Lonely Shore. Fluff, angst, non-explicit romance (kissing, fade-to-black, etc.) are all welcome.

[bweirdart]

#mARTch 2024

text version (with more info!) under the readmore! please check it out if you're confused about anything <3

F.A.Q

do i have to draw every day? no!!!! there are skippable days built into the event, please use them whenever you need them! i really don't want anyone getting a wrist injury!

can you share my art? yep! i try to share entries to @bweirdevents daily during the event!! the tags can get busy tho so i might miss some posts OTL sorry

what are the tags? #mARTch is the main tag, but this year you might find posts in #mARTch2024 too!

wait, i'm confused about a prompt... full breakdown of all the prompts below ↓ with helpful hints if you're stuck!

_____

INTRO WEEK

this week is all about your artistic identity ... technically, you don't have to draw anything new this week if you have some art that already fits. the starter days are:

1 ⭐ self portrait who are you? it doesn't have to be you IRL .. if you feel more comfortable drawing a fursona or mascot, that's fine too! if you don't wanna draw, you can also just share old self portraits today and talk about why you drew yourself that way!

2 🤍 inspirations see how this day doesn't have a star? that means it's optional and you don't have to do it at all! but if you really wanna- tell us all about what inspires you to create art! this could be anything from the people that inspire you, the shows you like, the pins on your big messy pinterest board, or concepts that you're drawn to! you can draw something about it, talk about it, or just post your inspirations! anything is fine

3 ⭐ fav thing to draw what do you like drawing most? backgrounds? animals? one specific animal? bust of your oc facing left? cars? the same anime boy over and over and over? no judgement!! show us :)

_____

STUDY WEEK

this is the week we actually start drawing from reference! polished art is not required at all, quick sketch studies are fine! please don't burn yourself out

4 🤍 plant

5 🤍 body

6 ⭐ animal

7 🤍 object

8 🤍 food

9 🤍 face

10 ⭐ hand

these ones are pretty self explanatory! you can do them as realistic studies, or adapt them into your own art style, it's all fine! you can reference from your own photos or from resources on the web.. have fun!

_____

COLOUR WEEK

this is the week for playing with palettes and working on your colour theory skills! if you're really struggling with these ones, don't worry about drawing scenes or characters, you can just have fun splashing colours around on an abstract canvas!

11 🤍 RGB a set or primary colours typically used in digital/screen art - red, green and blue!

12 🤍 CMYK a set of primary colours typically used in traditional/print art - cyan, magenta, yellow ... and key (black!)

for both of these days ↑ you can add in black and white. and feel free to combine the two days into one, if you're struggling with a three-colour palette! use all six!

13 ⭐ WARM COLOURS the warm side of the colour wheel, reds oranges and yellows!

14 🤍 MONOCHROME monochrome doesn't mean black and white ... it means one colour! that can be any colour at all- shades of red, shades of purple, shades of green .. or yeah, grey if you really want!

15 🤍 COMPLIMENTARY complimentary colours are the ones opposite each other on the colour wheel! they're kinda married

16 🤍 YOUR FAV COLOURS pick any palette that works for you! where's your comfort zone? what looks nice to you? what colour combos do you always go back to?

17 ⭐ COOL COLOURS the cool side of the colour wheel, purples, blues and greens!

_____

CREATIVITY WEEK

this week is all about vibes! try to create something that matches the mood of the prompt .. they're vague on purpose! don't overthink it, just draw from the heart!

18 🤍 SMALL you could draw something that's really small, like an ant .. or draw on a canvas that's really small .. or use a really small brush .. get creative with it!

19 🤍 DANGER try to capture the adrenaline .. the rush .. the fear that you associate with the word danger!

20 ⭐ SOFT soft colours, soft textures, soft vibes ... whatever makes you comfy!

21 🤍 MIDNIGHT darkness and secrecy .. spooky witchy vibes .. the tranquility of a forest at night .. the fun of a late-night party .. there's lots of ways you can take this!

22 🤍 POWER what does this word make you think about? superpowers? control and oppression? literal electrical power? something else?

23 🤍 CHILL chill as in calm? or chill as in cold? who knows .. it's up to YOU!

24 ⭐ LOUD try to draw something that feels LOUD! BRASH! IN YOUR FACE! how can you convey sound through art?

_____

FUN + GAMES WEEK

this week is just for enjoying yourself! take it easy and have fun! also .. another reminder! there are skippable prompts! if you're tired and struggling to get to the finish line, please don't hesitate to skip a day!!! or multiple days!! as many as you need!!!

25 🤍 TRY A NEW ART STYLE copy the art style of a show you like, ask a friend if you can try their style, draw the eyes a new way, develop a totally new style on the spot... whatever you want!

26 🤍 DRAW WITH YOUR NON-DOMINANT HAND righties, draw with your left! lefties, draw with your right! ambidextrous nation ... our time to show off!

27 ⭐ DRAW WITH YOUR EYES CLOSED don't peek! try to draw something without looking! if you really want, you can colour it with your eyes open after you draw the lines/sketch with your eyes closed... but please try not to cheat with the actual drawing part!

28 🤍 RE-DRAW SOMETHING OLD find some old artwork you like, or something you feel like you can do better on now, and give it another go!

29 🤍 RE-DRAW A MEME find a silly picture on the internet to redraw .. do you have any in-jokes with your besties?

30 🤍 DRAW A GIFT FOR A FRIEND create something for someone you love <3

31 ⭐ FREE CHOICE final day! you can draw anything you want today! show off your skills! draw something you've been meaning to draw! whatever!

_____

please refrain from reblogging this post after march ends - next year's prompts will be different, thank you! if you have any additional questions, don't hesitate to shoot me an ask!

[vinceaddams]

Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.

I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)

Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.

(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)

There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.

(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)

The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.

(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)

Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.

(1720's-30's, LACMA)

Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.

(1730's, V&A, metal and silk embroidery on silk satin.)

Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.

(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)

Tell me this look isn't positively made for vampires!

(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)

(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)

And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.

(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)

(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)

Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!

I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.

(1730's, Museo del Traje.)

(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)

(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)

(Portrait of Duchess Colavit Piccolomini, 1690's.)

(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)

Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.

(Viago in drag Portrait of a lady, Italian School, c. 1690.)

Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Tragic Hero

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Now the final part of the monologue in that chapter.

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

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

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

The second monologue is more denial.

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

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

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

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

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

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

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

As Codenamesanzanka says:

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

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

As @class1akids says in this reaction post:

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

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

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

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

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

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

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

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

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

Pro Hero Arc:

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

Hellish Todoroki Family 1:

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

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

Dabi's Dance:

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

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

The Fight Against AFO:

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

When Enji decides to double Suicide with Toya:

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

Hellish Todoroki Family Final:

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

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

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

As observed by Class1akids when we were discussing the update:

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

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

Batman doesn't fight victims. He saves them.

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

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

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

The Tragic Villain

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

Well, let me explain.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hey buddy, you're being selfish.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Themes Are For Eight Graders

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

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

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

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

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

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

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

Like, no.

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

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

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

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

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

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

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

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

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

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

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

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

"I wish you could be here, Toya."

"We all have to go stop, Toya."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EPILOGUE

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

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

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

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

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

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

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

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

You didn't mention Shoto once in this post:

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

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

[goldenchocobo]

Here’s what I’ve been working on, it’s taken a month, but I’ve finally completed it!

All 13 14 Organization XIII members with flowers!

I did reuse some flowers; but I’ve been wanting to redraw those portraits for a while now, so I can cross that off the list too

Under the KEEP READING are the flowers included, along with why I chose them for that Organization Member.

- You've clicked the 'Keep Reading', so you're in for the long-haul; 14 flower analyses in one! Better get snug!

I. Anemone flowers (also called wind flowers) have a lot of meanings, more negative than good ones; the ones I singled out for Xemnas was death and loss. Flower meanings require a lot of context- like sentences, so in this instance, I’ve used ‘loss’ to mean ‘loss’ in a general sense- Xemnas lost his heart, his comrades, his emotions; and by the end of KHIII; even his motivation; saying he doesn’t really care for his comrades’ demises, and that after he’s gained any kind of sensation back; it’s regret.

II. Knowing Xigbar is keeping all kinds of secrets, and knowing them is his business, Snapdragons are perfect. White and purple denote the spiritual and mystic. Them covering his mouth means that he knows something you don't, and he won't tell you anything.

III. We don’t know much about Xaldin- or Dilan. But with how I interpret him and his actions; he’s someone who has been scorned before- or at least has a lot of jealous dislike towards relationships and is sickened by how love makes people act. Hydrangeas are a flower both used for some wedding bouquets, as well as denoting jealousy, especially in their purple-blue colouration, as it's higher pH that causes the flowers to be that colour.

IV. Azeleas are flowers of two halves. They can mean Temperance and intelligence, but also temptation and caution. This is why I thought it was perfect for Vexen. Not only does he give into the temptation of his (immoral) research- more than once, but also ignored the dangers of it. When he's recompleted, we can see that he's gotten rid of these temptations (or at least I hope so). I made them orange to deeper the 'danger' and 'caution' theme as orange is a colour in nature that denotes it- like toxic amphibians and insects.

V. Lexaeus is a quiet man; so I don't really know much about him other than that he's strong and wants to protect Ienzo/Zexion; as such gladiolus- a symbol of such strength and protection is perfect for him.

VI. Zexion is interesting because I kind of see him as a tragic two-sided character. His scheming, 'throwing morals out the window and toying with people' Zexion in CoM side, and his more naïve, innocent and caring Ienzo side we see in KH3. I gave him Begonias for this reason; the purple in one hand representing mystique and curiosity, whilst white being for a more innocent side to him. I specifically chose Begonia pavonina leaves because they look weird and mystic and kind of match his shimmering hair.

VII. I've already used yellow roses for Siax/Isa, in the same configuration as well; and the meaning remains the same. Yellow roses can sometimes mean jealousy- especially towards friendships. Siax got too into his head about Axel making friends. That was when his jealousy took over, and he was lead by it.

VIII. Axel has had Alestromeas before- as they usually mean strong bonds of friendship; something Axel and Lea has shown over and over again. Like with Siax, I chose to make them a crown to show that, that friendship and keeping those friends safe is what drives him.

IX. It was kind of hard to come up with a flower for Demyx. originally I had him with Geraniums as they can represent folly; but instead, I went with Daisies; with the adage, 'Lazy Daisy'- for obvious reasons. Daisies- or asters- come in a large variety and specie. For Demyx, I chose two for aesthetic purposes; common daisy for around his head, and leucanthemum daisy for his neck- for their size.

X. Finding the right flower for Luxord was difficult. I did originally just have him with clovers, but felt that they didn’t suit. I chose poppies instead, as while they’re known for being symbolic of war & peace, fallen soldiers and death, there’s an under-current of time meaning; time being passed while we sleep, the time we remember the departed, and time marching on until the grave.

XI. For the longest time, Marluxia was going to have roses- it’s his whole motif; there’s rose iconography everywhere. But I chose Magnolias due to their symbolism of remembrance. While not fully aware until the very end, Marluxia was always searching for his sister, not believing that she had gone. The yellow Magnolias represent the joys he shared with her, whilst the purple imply the dignity of being a Union Leader, and Lord of Castle Oblivion.

XII. Marigolds are pretty, but their meaning is not... sometimes. Out of their meanings, I've chosen their meaning for Larxene to be one of cruelty and coldness. Because that's what she is to everyone.

XIII. Roxas keep his Dahlias from his original flower piece. The meaning remains the same; That- even in the face of hardship and despair, he will remain kind, friendly and cheerful.

XIV. I was going to reuse the obvious choice of Forget-Me-Nots for Xion; but honestly, I felt intimidated by how small they are, and- if you've paid attention, kept a strict number limit on my flowers; so that wasn't doable. Instead, I chose a Cornflower, which has a similar meaning of not being forgotten, as well as hope, devotion and love.

-

The stones inlayed in the frames have no real significance other than that they match the character's colour scheme; Here's what each stone is: Xemnas: Pearl Xigbar: Smokey Quartz Xaldin: Amethyst Vexen: Emerald Lexaeus: (orange) Agate Zexion: Lepidolite Siax: Moonstone Axel: Sunstone Demyx: Sapphire Luxord: Hematite Marluxia: Rose Quartz Larxene: Topaz Roxas: Snowflake Obsidian Xion: Obsidian

OK- I lied a little; there's some theming between characters, but nothing majorly deep; I haven't really looked into gemstones and their meanings.

If you've read this much, congratulations! Flower Count: Xemnas has 13. Xigbar has 3. Xaldin has 1. Vexen has 7. Lexaeus has 5. Zexion has 13. Siax has 7. Axel has 7 Demyx has 20 (13 common, 7 leucanthemum). Luxord has 7. Marluxia has 5. Larxene has 5. Roxas has 7. Xion has 13.

The only outlier is Xaldin; but Hydrangeas are hard to draw and only had the motivation to draw one.

[confused-wanderer]

We all know Damian’s not one for physical or verbal affection. So I raise you: drawings

Drawings and paintings are the easiest way inside Damian’s mind. The more angry or disturbed he is, the more details the drawing is and the palette depends on the emotion. Fear? Bright lights with one pitch black spot. Anxious? A mixture of dark and light colours.

No matter what he draws, the batfam always looks for how detailed it is. On days he’s happy or content the drawing looks a bit abstract, like too many ideas were flowing and he didn’t mind making a mess (not having a specific direction) of his drawing.

But it’s also how he shows affection.

On Dicks birthday he once painted the entire circus along with a little dick laughing and swinging on the trapeze with his parents with the crew doing their acts and the animals having fun.

That was the first indication Dick had of Damian’s change in behaviour that showed him he was willing to open up, to care and change…even if it took time.

Jason found a particularly striking portrait of his favourite scene from a book, painted with a magnificent splendour with every detail and symbolism present, with the characters drawn just as he’d imagined. It’s so beautiful he hangs it in one of his most visited safe houses, and it isn’t until later when he realises it could have been the reason Damian stole his favourite book which contained notes on each scene.

Alfred catches a glimpse of Damian painting something he insists is for Bruce’s eyes only, but the palette was a mixture of bright colours.

Only on his parents death anniversary, when all his siblings are in town and sitting in a room with Bruce when he taps on Dick, Jason and Steph’s shoulders and asks them to come with him. They’re hesitant at first but the vulnerability in his eyes finally wins them over.

Damian knows how to draw, but not how to present, especially when everyone’s watching and he doesn’t know how they’ll react, or rather how Bruce would.

So they help him figure out how he wants to show Bruce, and on his request together take the painting and unveil it in front of Bruce when they’re all standing on the Balcony.

It’s a picture of the entire family, with all the newest members and in the background homages of their superhero identities, along with Easter eggs for poison ivy, Harley, the justice league and so many others.

But in the centre was Bruce, standing in the centre of his parents and all the other members in order from oldest to youngest, surrounding him.

It was the first time Damian learnt that tears aren’t always a bad thing.

[thefirstknife]

ViDoc... 2!

A lot of cool stuff shown, my favourite being the strike, but first I want to mention this:

They said that when looking at Ace of Spades they realised they have the potential to make the rest of the deck of cards so this is why TFS weapons look like this and have character portraits; they're a deck! And specifically, these characters were chosen because of their ties to Cayde's story.

Obviously we have the generic Warlock, Hunter and Titan to symbolise the Guardians, but then there's others. Ikora and Zavala are obvious. Bottom left is most likely Shiro-4; hooded Exo with Hunter knives, I'm not sure who else it would be. The hood first made me think Elsie, but the Hunter knives don't make sense then.

Bottom right? That's Maya Sundaresh! Both as human and as Lakshmi-2, as we've learned from Veil Logs. It helpfully also has the Ishtar Collective logo. For those that don't know, Cayde worked as her guard, as an Exo, while she was still with Ishtar on Venus so that's why she's connected to him.

And top right? We have the "neoteric kiyot" cloak with the symbol of the Six Coyotes. Six Coyotes Exo member with ties to Cayde? That's Micah-10. Micah-10 category 10000 event.

Also for those that don't know, back in Beyond Light we got a really neat story about Micah-10 as a child in the lore book Your Friend, Micah Abram and some associated lore pieces that confirm Micah-10 is this kid. In one of the entries from the lore book, Micah is exploring Europa and accidentally alerts two Exos who then end up panicking, trying to shoot the intruder and then catching the kid. Then on one of the raid armour pieces, we have Cayde's flashback to this event from his POV, showing us that he was one of the Exos (as Cayde-1 then). He tried to shoot Micah, not realising it's a kid, then later grabbed them and held them up; the implication here that this is almost certainly the source of his mismatched memories that made him think he had a son. Him holding Micah is what eventually progressed in him simply remembering holding a child and constructing a story to go with it.

Micah-10 is an incredibly interesting character in general, as she is the closest thing we have to someone fulfilling the prerequisites for a speaker; even as a child, she was having strange prophetic dreams where something was speaking to her (most likely the Traveler) and showing her as an Exo. As a Guardian, she has the unique quality of being followed by Ghosts and has the title of "den mother of Ghosts."

She was also illustrated for the Volume VI grimoire collection, the one about Ghosts! Her Ghost Stories lore book is featured there accompanied by an illustration which shows her with a sniper, which the weapon with her image in TFS seems to be:

And yeah the sniper appears to have trans colours which I can't see as anything other than deliberate because Micah-10 is canonically trans! (Link to my post about it with links to a few more posts about it)

Incredibly exciting to see her featured on one of the TFS weapons, especially after she was featured in the grimoire and also in the TFS CE, in the autograph book where she left her own message, and so did the Ghosts that follow her. It's also interesting to tie her to TFS when we're going into the Traveler, given her unique relationship to the Traveler that she's harboured since she was a child. Can she become more than just a lore character now? Please?

Destiny fandom when a minor lore-only character gets one new mention be like: time to write an essay.

[sanrielle]

Amazing fanart by Joanacchi! Posted here on tumblr with their blessing. Each one is based on a style that reflects a particular ancient culture's art history. (See below for descriptions provided by the artist!)

Store (buy these prints!) Twitter Instagram

Aang: Tibetan Thangka

"Thangkas are traditional Tibetan tapestries that have been used for religious and educational purposes since ancient times! The techniques applied can vary greatly, but they usually use silk or cotton fabrics to paint or embroider on. What you can depict in a Thangka is really versatile, and I wanted to represent things that make up Aang as a character."

Zuko and Azula: Japanese Ukiyo-e

"Ukiyo-e is a style that has been around Japan between the 17th and 19th century, and focused mainly in representing daily life, theater(kabuki), natural landscapes, and sometimes historical characters or legends!

Ukiyo-e was developed to be more of a fast and commercial type of art, so many drawings we see are actually woodblock prints, so the artist could do many copies of the same art!

I based my Zuko and Azula pieces on the work of Utagawa Kuniyoshi (1798-1861) one of the last ukiyo-e masters in Japan! He has a specific piece which featured a fire demon fighting a lord that fought back with lighting, and that really matched Zuko and Azula's main techniques!”

Toph: Chinese Portraiture from Ming and Qing Dynasties

"Ming Dynasty (1368-1644) was one of the longest in China! It was also a period where lots of artistic evolutions were happening, especially when it comes to use of colour! There was not a predilection for portraits during this time, but there are a lot of pieces depicting idealized women and goddesses from the standards of the time. For this portrait of Toph, I imagined something that maybe their parents commissioned, depicting a soft and delicate Toph which we know is not what she is about ♥️

Qing Dynasty (1644-1912) was the last Chinese Dynasty to reign before the Revolution. One of the most famous emperors of this period was Qianlong, and he really liked Western art! He commissioned a lot of portraits of his subordinates, and I chose a portrait of one of his bodyguards as a reference for the second Toph portrait, which I believe is much more like how she would want to be represented! The poem on top talks about the bodyguards' achievements during a specific war. I had no time to come up with a poem for Toph, so I just used the same one for the composition!”

Sokka and Katara: Inuit Lithograph

"For a long time, Inuit art expressed itself in utilitarian ways. The Nomadic lifestyle of early Inuit tribes played a huge part in that: most art pieces are carved in useful tools, clothing, or children's toys, small and easy to be transported, and depicted scenes and patterns representing their daily lives!

That changed a lot during the colonization. Since the settling of the Inuit tribes, many art pieces began to be created in order to be exported to foreigns, so they started to sculpt bigger and more decorative pieces.

Lithography, which is a type of printmaking, was introduced to Inuit people by James Houston, that learned the technique from the japanese. The art form was quickly embraced by the inuit, as part of the process is very similar to carving. Prints that are produced by inuit artists are still being sold today!

As lithography is not an old art style and it's still commercially relevant to the Inuit communities, since creating these in 2021 I have been donating regularly to the Inuit Art Foundation, not only all the money I get from selling some prints of these but a bit more, at least once a year. Hopefully, I can increase donations this year!”

[the-kr8tor]

Katy…. For the 1 year anniversary

Garlic cloves and 💧

Vampire hobie and some angst

Vampire hobie and a human where other vampires find out hes in love with a human (maybe they cause him to purposely goes mad, to where he will attack and be the cause for rs death. Possibly?)

Then when he snaps out of it, he realize what hes done. To the person he fell in love with (can totally see him trying to make R into a vampire while sobbing choking out apologies while trying to get them back) 😭

I dont know i thought youd like this possibly, you have full control over the ending or how anything goes or could go. Some of its just a small ideas to give your brain maybe to help give you ideas for how you want to go. But i know you love angst and you are amazing at it

First thing i requested for your Apothecary. Do whatever you want with this idea. Just knew itd give a lot of angst potential for our favorite punk

Hehehhehe vampire! Hobie angst 👀 thank you for requesting, bestie!!

Pairing: Vampire! Hobie Brown x fem! Reader/ Spider-Punk x fem! Reader

Word count: 1k

Tags: No use of Y/N, no specific physical description of the reader (except her clothing), TW death, CW blood and gore, CW violence, vampire AU, Angst.

Katy's one year celebration 🎉

Blood coats his tongue like a thin film of gore and death. It sticks to his fangs, red dripping off his unhinged maw where his fellow immortals’ crimson flows out like your own blood spilling from the numerous bites marring your precious skin. Skin he used to hold and love, skin that is now littered with specks of rubies as if a constellation of stars has touched you in your dying breath.

He heaves in place, adrenaline coursing through his veins like the raging rapids. Sharp claws still red and dripping, rage filled eyes roaming around the violence he did not start but had to finish.

Hobie never thought that he'd be betrayed by his immortal kind that he has spent centuries with. Vampires they used to call friends, even family. He never thought that being called upon by a trusted friend would result in you lying in your own pool of blood in the same house he left you, in the same dress he last saw you in, in the same floors he danced on with you holding on to him as he glides you around the home he once built for you.

Home, it doesn't look like it now. The oak walls that you've painstakingly painted that resemble tree branches stretching across the abode like a warm embrace are now coated in every shade of red. Numerous portraits of your life with him now lay scattered by his feet, glass crunching under his footsteps like dry autumn leaves. The pretty candles that you always light on the same hour every night are nothing but wax melted upon the ashen skin of fellow vampires. His hands are coated in the same ashes, grey amidst dark red, dark red among his skin, skin that he thought he has washed away from a millennia of sin— skin that he thought was worthy of your sacred touch.

As he walks closer to your limp body, his eyes bore into the river of red left in your wake. His expression is akin to an empty, apocalyptic look— dangerous, yet, a tragedy lies underneath his wine red eyes. He's starting to hate his eyes now that you lay in a pool of the same colour. You used to tell him that his eyes were like the purest of crimson, similar to a stirling ruby no king or emperor could ever possess. With your words he vowed to keep you close to him until your skin has etched into his own, until his own ribs rip apart to embrace you and take you into his very being. Now that he gingerly holds you close to his chest, he should've done that to protect you better, now it's too late as you gasp, fending off death itself from taking your soul before you could say goodbye.

Your eyes no longer show the light he once admired, light akin to the sun that would burn and turn him into ash— but he could not stop looking at them, even if it could possibly be his demise, because it'll be worth it to feel the righteous sun kiss his skin once again.

“‘m sorry,” Hobie cried as his tears from his own blood dripped down across your cold cheeks. “I can still fix this.” With a shaky inhale, he feels mortal when your freezing hand taps his long dead heart. You don't speak nor blink at him. He wishes you could but with your life seeping out of you, it's impossible for you to do so. He feels it, how your life is being drained from the numerous bites along your body. He also wishes he doesn't feel you slip away. “Please, l–let me bring you back.”

With your last strength, you curl your lips to a soft, weak smile. Hand weakly gripping his shirt, mouth mouthing the words— “not your fault.”

Hobie chokes on a sob, shaking his head, he cannot, will not let you go. You're the only person who truly knows him, the only person who has seen the real him that he hasn't shown to anyone since he was turned. He loves you, and he'll continue to love you until his dying breath, whenever that may be. Ten years from now, twenty, a hundred— he'd love you until he steps out of the shadows and back into the light of the sun that reminds him of your eyes.

He feels your heart slow down, the blood rushing out of your veins are like drums in his ears. Opening his jaw, fangs in full show, you let out your very last mortal breath.

But he's too late, you have no blood left, drained until the last drop. No spark of life left to be brought back to earth with. Without a flicker of light, there's no embers to set fire to. Yet, he still tries in despair. Teeth sinking into you, a hungry bear to a corpse of a rabbit, he bites and sips into nothingness. Not even a glimmer, a hope lighting a fire in you brought by the kiss of death— nothing, absolutely nothing can bring you back to life. He cries, sobs wracking his body, a hurricane of emotions flooding through him that he has never felt in his immortal life until now.

Calling your name, he cradles your cold body, hand behind your head, lips upon your neck. He doesn't bite this time, he knows better. But if it does work, will you hate him for it?

The door creaks open, a familiar face he just saw a few hours ago enters the sheer violence Hobie left in his vengeance. His face contorts into sorrow but it quickly turns contorts to disappointment.

“You should've listened.” He utters, mouth dripping with venomous words. “Was she worth it? Breaking our law?”

Hobie slowly glances at the man without leaving your side. His once pure ruby eyes have turned into a flurry of bright red fury. “She was.” His claws dig into your lifeless body, lips shaking from sheer anger.

“I still cannot understand you.” He scoffs, “and you even tried to turn her. You're a fucking disgrace.”

Hobie slowly brings you back down, carefully laying you and closing your lifeless eyes. He looks at the man, someone he used to call a friend, someone he once trusted. Vampire blood and ash coats his very being, staining his soul, but they don't compare to your blood on his hands.

“Then I'll make you understand.” With a pounce, Hobie will drench his hands in more ichor until it's enough for him.

[thisgirlnamedblusy]

Hallo!!

may i ask for a little spronkle of fluff? Donna goes out to town to buy fabrics, the neewww (oh, wow!) cleric selling it to her, Reader, has almost the exact same scar on their face (except for it not being unnaturally deformed, -- reader got it from like, an encounter with a rabid animal, or something),

Donna gets curious and asks about it, leading to a casual conversation, which led to Donna wanting to come back and chat with the new hire, seeing as how, unbeknownst to Reader (because, obviously, Donna wears the veil, Reader wouldnt know she had the same mutation) they had something in common, their scarring

Make it so that Reader (very slowly) catches on ?? And they develop feelings overtime ?? But, doesnt know if 'big-lady-Donna' feels the same way, so they just.. shaddap? (i had to use that 'big-lady' reference, or it wouldve haunted me, forgive, forget)

Reader asks to see Donnas face (although, very nervously, because of, yknow, Angie staring down Readers soul, aswell as Donnas rank/title), Donna complies, although hesitantly, and Reader is just so entranced by how similar the size/placement/colour of their scarring is, that theyre just so hyped, and cant help to call Donna beautiful, to call her newly-revealed, singular eye 'enchanting' and whatnot (make Reader a nervous sap, i beg and i plead, i need this prompt to rot my teeth),

Donna gets fed up from how clueless Reader is to how much Donna appreciates them -- leading to, very reluctant, and/or peeved (take that as you will, im unsure how to topic Donnas nerves, tremors, mood-swings and whatnot) confession, coming from Donnas side. (Meaning: Donna confesses first, very awkwardly, and shyly, and Reader obviously accepts, because, .. They're girlfriends, your honor!)

Angie, meanwhile, is hurling in the background because of how cheesy, and forced, Donnas confession was, (although, secretely, Angie is over the moon that her Donsie made a new (girl)friend). Maybe add a little bit of like, restless, over-thinking rambling in Italian to that mix. (Ex: Donna just going over about how cool it is that they have matching scars, maybe Reader could come over to her estate and see her portrait without it. *Mumble mumble, something nervy in italian*, do you wanna come over? Do you wanna see my workshop? Do you wanna see my dolls? I can have one resemble you. Do you sew? We can make dolls -- *Mumble, trips over words, Italian*)

Make it from Donnas prospective, Please and thanks!!

No smut, just wholesome wholesomeness, and ofcourse, happy, diabetes-inducing ending, where Reader does agree to come and hang out with her -- make them Girlfriends with your writers-magic from that point on, because i have no idea what else to add to explain how overtime THEY FALL INLOVESIES!!! (AGHH! SUCH ROMANCE! THEYRE SO INLOVE!!!)

No mention of G!P or just, like, any arousal in general (since ive seen it mentioned on other posts, by other people, when asked for no smut, i just wanted to clarify)

hope i explained this okay?? Sometimes im pretty vague/too specific while typing and add too many '()'s and '/'s (overthinking autism brain -- HEY! LOOK! I JUST DID IT AGAIN!)

wish ya the best of luck, aswell as the best of day, may Angie bite your fingers (not really.. aha.. joking! Or am i?), Ciao, Blusy!

Yesss!!! Wow, it was a curious request! Thank you!!! I hope you like it and sorry about the language mistakes!!!! :))))

Two broken faces

Pairing: Donna Beneviento x Fem! Reader

Warnings:¡ fluff, Donna being Donna, Donna's POV

Word count: 9,376

Summary: She's so simliar, but so different...

N/A: Sorry about the language mistakes!!! Requests are open!!! I'm waiting yours!!! I love you all!!! :))

I thought I had everything I needed.

I had my dolls, my books, the peace that solitude offers a woman like me… Always afraid of people, always hiding, I found in my isolated world a peaceful place to live, for all eternity.

I didn't ask for this, I never asked the Black Gods to have mercy on my soul, I didn't ask Mother Miranda to adopt me, I never asked anyone for that second chance, I just wanted to die.

Sometimes I wonder what would have happened if my family hadn't been noble, if my ancestors hadn't been part of the founding of this village. Maybe I would have had the chance to live in a different way or maybe my wish to disappear would have simply been fulfilled.

Donna Beneviento, a young woman who stopped fighting. Yes, surely they would put something similar on my grave. I would have become a legend, that woman who lost everything, who was cursed with an illness, who was condemned to watch how little by little, the world around me faded away behind that horrible waterfall.

But… After all, after that mercy that I didn't ask for, the result wasn't very different. To think that I was no longer alone would be to deceive myself. Angie was already speaking before I insisted on giving her life with my new gifts. Angie was me, I was Angie.

Maybe she's still me, even if I don't realize it, maybe I’m not even a Lord, maybe I wasn't even alive anymore. It was hard to know. That position of power that the Gods granted me only served to make my horrible thoughts to take shape, to find in cruelty a way to relieve the pain of my soul, the rage I felt at having been unjustly deprived of a normal life.

Josef was the first, but not the last.

What was the fault of the man who took care of me after the death of my family? None. Why did I do it? Because I could.

I try to look in the mirror and not see that reflection, the reflection of my horrible appearance, of that punishment for the sins I didn’t commit, but I only see a monster, a monster on the outside, a monster on the inside.

Surely that was what Miranda expected of me: another terrifying being to keep the flock under control. I cannot deny that she succeeded. I myself became the fear, the terror.

That legend that I thought I would become by ending my life became a dark tale, a nightmare story, the story of the terrible doll maker, Donna Beneviento.

I could not say when she stopped mattering to me, I cannot even say that one day she stopped. Loneliness was my fear, until it became my refuge. You did not love me before, when I was just a girl with a scar, now that I am a monster your punishment would be to fear me.

None of that matters, not even my brothers, nor this cursed village. I only care about Angie, my dolls, those that do not judge, that do not laugh at me, that do not fear me, that do not feel anything. The flesh deceives, lies, harms, porcelain does not. Porcelain is malleable, it looks the way I want, it is beautiful, soft and does not hate me.

I wish I could have been a doll, I wish I could free myself from the hatred that was inside me…

“Grigio,” I said in a whisper, while I was devoting my soul to making my dolls, to creating those emotionless beings that I envied.

Angie nodded, walking around the work table, looking for the fabric I asked for.

“Grey again, Donna?” the doll asked, in a mocking tone. I nodded without looking at her, finishing correcting the imperfections of that new companion.

“What's your problem with grey?” I asked, cleaning the smooth porcelain, with my gaze fixed on it, trying not to let Angie distract me, as she usually did.

“It's boring,” the doll said, handing me a too small piece of fabric, making me frown.

“It's not enough, I need much more,” I said focused, shaking my head. The doll shrugged, walking over to her new friend.

“There is no more grey fabric,” Angie mocked, hands on her hips.

I sighed, snapping out of my concentration, searching through the drawers. I would never trust Angie, I would never trust myself.

“There isn’t?” I asked confused, searching the workshop for the desired fabric. The doll growled angrily at my distrust, crossing her arms.

“I already told you, silly Donna,” she mocked, getting down from the table. I sighed, rubbing my eye. I had been in the workshop for hours, I couldn’t say how many.

“Angie…” I sighed tiredly, shaking my head and finally abandoning my dolls, walking through the dark basement hallway, through that comforting darkness. “I'm not in the mood for your nonsense.”

“Are you ever in the mood?” the puppet asked, with a mocking tone.

I didn't answer. I simply walked towards the phone, looking in a address book for the number of the village merchant, the Duke.

“Oh, oh, oh, ask the fat guy if he has yellow wool balls,” Angie said, tugging at my dress.

 I looked at her, unable to help but smile. Who it was didn't matter, my position as a Lord didn't matter, I was sure that, without Angie, I would have given up a long time ago.

“What do you want yellow wool balls for?” I asked amused, picking up the phone and dialing the number slowly, indicating to Angie that she should let herself be picked up. I still needed her to speak for me.

“I don't know, they're funny,” she commented, taking the phone while I lovingly put her old clothes on. “Hello, hello? Fatty?”

Nothing, no one seemed to answer.

“He doesn't pick up,” Angie whispered so I frowned, snatching the phone from her and checking she was telling the truth.

“Maybe he's not in the village,” I sighed, hanging up and shaking my head. “How convenient, I need that damn fabric.”

“He might be in his warehouse,” Angie commented, going back down to the floor. “Although I doubt he will fit through the door,” she mocked amused, making me smile again.

“What do we do now?” I asked, looking at the crumbling ceiling.

“Why don't we go to the village?” Angie suggested. “We can look for the Duke there.”

“No,” I said dryly, hardening my expression.

“Silly Donna... I want my wool balls!” the doll protested, in a childish way, irritating me again. “Let's go to the village, to the village!”

“Madonna… I said no, Angie,” I snorted, in a brusque tone.

No, I didn't want to go to the village, I didn't want to see anyone, I didn't want to see fear in people's eyes, I didn't want to see it again.

“Silly, you stupid pasta thing,” the doll hissed. “Stupid Donna”

“Are you done yet?” I asked with irony, with a dangerous look. As expected, the doll shook her head.

“Donna, you coward, I want my wool balls!” she shrieked irritatingly again, making me lose my patience.

“Chuidi quella cazzo di bocca!” I shouted furiously, completely out of my mind, causing the puppet to flee in terror, hiding behind a table.

Once again, I had lost control for no reason. I would never be able to escape my sentence.

I tried to relax, to make the trembling in my body disappear. I breathed deeply, lowering my head.

“Perdonami, Angie…” I sighed in a calmer tone, walking slowly to the doll's hiding place. She, timidly, peeked out. “I shouldn't have yelled at you.”

“You're very tense,” the doll whispered. “You have to relax...”

“I know, forgive me, please,” I said with my voice broken by the rage of my behavior, extending my arms towards her, who timidly approached, letting me pick her up from the floor.

 “Of course I forgive you, silly,” the doll said, hugging me in a childish way, bringing the smile back to my face.

“Fine… W-we'll go to the village to get the fabrics, what do you think?” I finally said, trying to compensate my only friend for having to put up with me day after day, for having to live… With a monster.

“Yay!” the puppet celebrated as I carried her in my arms, leaving the comfort of that dark basement.

I never liked going out, feeling the cold on my body, feeling insecure, outside the safety of the cracked walls. Maybe no one had the misfortune of seeing my face, but my mere presence was already uncomfortable enough for anyone.

Just think about it, a woman in black clothes, with her face hidden by a black veil, a lifeless figure which comes walking slowly towards you. It was terrifying.

Luckily, there didn't seem to be many people in the village, it was a cold morning. I also didn't want to notice if there were eyes watching me, if there was a child trembling in its mother's arms when it saw me walking.

The Duke's warehouse wasn't far away, and I headed there as quickly as possible. My breathing was uncontrolled, my anxieties were already starting to make me too nervous. I wanted to go home.

“Duuuuke!” Angie called when we entered the cabin. “Duuuuke! Where are you?”

There didn't seem to be anyone there and we both looked at each other, shrugging our shoulders. Not wanting to wait for that vermin to appear, I approached the place where he kept the fabrics, looking for that desired grey tone my doll needed.

“What do you think, Angie?” I asked the puppet, who was curiously rummaging through the merchant's things, nodding disinterestedly. “Where are the grey ones...?”

“Hello,” an unknown voice startled me, a female voice that was not familiar to me.

From among the boxes, a girl appeared, a young girl with a splendid smile. I didn’t recognize her, I would remember that face. Near her left eye there was a horrible scar. I couldn’t help but bring my hand to my face when I found a similarity between that deformity and mine.

The girl shook her hands, with an elegant gesture, without that smile disappearing.

“Lady Beneviento,” she said softly, lowering her head. “Surely the Duke would spend the whole morning flattering your presence but I believe in naturalness, do you need something?”

“Where is the fatty? Who are you?” Angie asked, letting me pick her up again while pointing at that unknown girl.

“Oh, the Duke is on a business trip, or so he told me,” she said, amused, shaking her head. “But I'm sure I can help you, or try, at least.”

I looked at her curiously, unable to take my eyes off her scar, one that didn’t hide her beauty at all. I couldn't say why, but my cheeks began to blush.

I didn't say anything. I just looked at her confused, just like the doll did with me, waiting for me to react.

“Oh, sorry, I haven't introduced myself,” the girl said with an apologetic look, extending her hand towards me, a hand that seemed very soft… “I'm (Y/N), the Duke hired me to be his assistant when he wasn't around. I manage the warehouse too.”

I hesitated for a moment. My instincts pushed me to reject that greeting, to ignore that smiling young woman, but, for some reason, I didn't. I slowly extended my hand towards hers, shaking it briefly, feeling for myself that I wasn't wrong, her skin was very soft, warm.

“It’s, it's a pleasure to meet you too,” she joked, confused by my shy greeting, with a natural, beautiful smile... “I never thought I'd have the honor of having one of you here.”

“Shut up, you stupid village girl! We've come for...” Angie said, interrupted by a sudden movement of my arms, letting her fall to the floor. “Hey!”

“I ne-ne-need fabrics,” I whispered with a hoarse, timid, barely audible voice. The girl frowned, coming a little closer to me.

“Excuse me, but I didn't hear you,” she said amused but with a kind look.

“Fabrics, stupid! Fabrics!” Angie shrieked, startling the young woman, who, surprisingly, kept her composure masterfully.

“Oh, fabrics, of course,” (Y/N) said, nodding and passing by me, letting me get a closer look at that scar so similar to mine, one that had me quite interested. “If you would be so kind as to come with me…”

I nodded slowly, following the young assistant through the warehouse.

“Are you looking for something in particular?” she asked naturally, rummaging through a pile of fabrics.

“G-Grey fabric…” I murmured, clearing my throat, with Angie looking at me strangely. I couldn't blame her for it, I was very nervous.

“Grey…” (Y/N) commented, searching with her eyes. “Oh, yes, here,” she said amused, pointing at several fabrics of that same color.

“Wool balls, we want wool balls,” Angie said with a haughty tone while I touched those fabrics with curiosity, unable to avoid looking at that girl out of the corner of my eye.

“Wool balls?” she asked confused, scratching her head. “Mm, yes, this way,” she said, gesturing for the puppet to follow her.

I paused for a moment to look at her again, my heart beating fast and my eye unable to stop studying each of her movements. She was a really beautiful young woman, who surely hid some terrible story, maybe one as horrible as mine, maybe… Oh, I didn’t know why I was thinking about it.

“Do you see anything you like?” she asked me when finished attending to Angie, getting closer to me, maybe too close, allowing me to look at her more closely again.

“Um, yes… I…” I stammered nervously, clearing my throat again and pointing at a random roll of fabric. Luckily, it was a grey one.

“This one? Good…” the young woman commented, taking the roll and heading to a small counter. “How much do you want?”

“No, I… I’ll take the entire roll,” I said, nodding, putting my hands together in front of my body, playing with them discreetly to try to stop shaking.

“The entire roll?” (Y/N) asked, frowning. The Duke never questioned me, why did she?

“Is there a problem, silly?” Angie asked mockingly, comically wrapped in a wool ball.

“No, there’s no problem but… I don’t know if you can handle it, it’s quite heavy,” the girl said amused, leaning on the counter and looking at that large roll of fabric. “I mean, I’m not saying you can’t… I mean, I…”

I laughed at that shy side, that nervous side my presence provoked in her. Normally I would have groaned or sighed at the sight of her body trembling, but on that occasion, I didn't. Even when she was nervous, she couldn't lose that bright smile.

“Calm down, I know what you mean,” I said in a different tone, louder and noticeable, as if my own voice was eager to talk to her.

“Uff, okay...” she sighed, running a hand over her forehead in a playful way. “Sorry, my lady, I'm not used to dealing with... Lords, you know.”

I laughed again, shaking my head. I could feel Angie's eyes looking at me inquisitively, but I didn't pay attention to them. Not wanting to look stupid, I took out a bag of coins, leaving them on the counter. (Y/N) picked them up, writing something down in a notebook.

“Fine...” the girl murmured, leaving the pen on top of the notebook. “Do you need anything else, my lady?” she asked kindly.

I shook my head, turning to leave, picking up my doll again, who was still staring at me.

“No, thank you,” I muttered before walking out the door. Something, something made me stop and turn around. “Uh, actually, I do.”

“Mm?” (Y/N) hummed, with that same kind smile, following me with her gaze as I approached the counter again.

“I don't remember seeing you before,” I said with a dry voice, with an indifferent tone. I didn't want to show her how nervous I was, besides, I didn't even know why I was that nervous.

“I'm elusive,” she answered amused, leaning on the counter in a casual manner. “But the truth is that I've been here all my life.”

“Working for the fat guy?” Angie asked, with a curious tone, shifting in my arms.

“No, no,” (Y/N) said, shaking her head, laughing amused. “I mean, I've been in the village all my life.”

“Really? It's funny, you don't sound familiar to me,” I commented, with a slightly dark tone, analyzing her expressions. The girl shrugged, as if it wasn't the most comfortable question for her.

“Well... I'm not very fond of masses...” she murmured in a cautious tone. “Don't get me wrong, I adore Mother Miranda, and you, and of course I pray to the Black Gods every day and...”

“Mmm…” Angie got out of my arms, walking along the counter until she was very close to her. “She's lying.”

“What? Oh, no, no, I’m not,” the assistant said, now a little more scared. “No, my lady, no, I'm not lying.”

“I don't care if you are, (Y/N),” I commented, moving the doll away from her, laughing shyly again. “I'm not judging you.”

“Oh, okay…” the girl sighed, with an exaggerated gesture of relief. “Well, to be honest, I've never had a particular interest in… All that stuff about the Gods.”

I nodded nervously, wanting to ask a thousand questions, without knowing why, without knowing what exactly was keeping me in that warehouse.

“But, but I go to masses,” she said with a more relaxed tone, pretending sincerity. “Um… Um…Do you want… Do you want something else?”

“No,” I answered abruptly, turning around again and walking towards the door.

When I arrived, I realized that my legs weren't moving, that my head wanted to turn towards that girl again. My behavior was strange, but I couldn't help it.

“Yes,” I said, entering again, causing her to laugh amusedly and look at me in amazement, probably because of my pathetic attitude. “Can I ask you a question?”

“Lycans,” she answered, relaxing her expression. I frowned and shook my head, confused.

“Cosa?”

“My scar, I know you were going to ask me about it,” she said with a relaxed tone, pretending to read the notes in that account book.

“No, I…” I stammered, embarrassed to know that it was really what I wanted to know, what had caught my attention.

“Don’t worry, my lady, nothing is wrong. I’m not ashamed of it,” she said with a sincere look, one that made me see that her left eye had a slightly whiter tone, as if it had no life.

That was how I was like when I was a child, when everyone laughed at me.

“What…? What happened to you?” I asked in a cautious, strangely curious tone.

“When I was 10 I made the stupid mistake of going into the forest at dusk, you know, I wanted to be the bravest girl and blah blah blah…” (Y/N) commented casually, gesturing with her hands. I nodded for her to continue. “How was I supposed to know that there were lycans in the woods? It seems unlikely in a place like this, right? Um, sorry, it was, it was a joke.”

“Uh-huh,” I whispered, frowning. “A joke?”

“Yeah, well… I've learned that, in order to be happy, you must learn to laugh at yourself,” (Y/N) explained, with a smile adorning her beauty again.

“Do you find that some lycans hurt you funny? You could have died,” I said annoyed by that attitude. No, that wasn't funny, it couldn't be.

“I know, but… Here I’m,” she said sighing, spreading her arms in a playful way. “I lost the vision of my left eye, but… I'm still alive, and that's the important thing.”

“You seem like a very optimistic girl,” I commented, with an amused laugh, inadvertently getting a little closer to her.

“Mm, well, it can't be any other way,” the girl said in a relaxed tone, tilting her head.

“It must have… It must have been… difficult for you, you know…” I said stuttering, raising my hand to discreetly point out the deformity of her face. “Children can be very cruel.”

“Oh, not at all,” she said with a wider smile, shaking her head. “There hasn't been anyone brave enough to mess with me.”

I laughed again, incredulous at that attitude, one so different from mine. So similar and so different at the same time… Like the two sides of the same coin.

“Why you say so?” I asked curiously, with Angie starting to get impatient, tugging at my dress probably wanting to go back home.

“Because if they did… Well, they were very likely to go home with a black eye,” she whispered in a lower voice, as if she wanted to tell me a secret. “You know what they say: an eye for an eye, right?”

She was a mysterious girl, one who, with every thing she said, brought a soft laugh to my lips. It had been a long time since I laughed so many times, that the smile refused to leave my face.

“Um, I…” I murmured after a moment of awkward silence, holding Angie's hands, which pulled at my dress harder and harder. “I'll leave you alone, I've already stolen too much of your time.”

“You can steal all the time you want, my lady, as you see, there's no one around here,” the merchant said amused, looking around.

“Um, yes, well, I… I'm, I'm leaving, th-thanks,” I stammered, closing my eye because of my pathetic stammering, ready this time to really leave, to control my desire to stay and chat with that girl.

“Wait,” she said, leaving me pinned to the ground, walking out the counter. “Wait, I…”

“Mm?”

“Um, hey, you're not as scary as they say,” (Y/N) said nervously, biting her lip to contain her words, words that, apparently, came out of her mouth on their own. “I mean, I, I liked meeting you, Lady Beneviento.”

“Oh, I…” I stammered, struggling between joy and anger. I couldn't blame her for fearing me, everyone did and everyone would, forever. “Me… Me too, (Y/N)…”

It could have been just another day, but it wasn't. Meeting (Y/N) made me start to smile. It didn't matter what I was doing: cooking, reading, working with my dolls... The beauty of her face was always present in my thoughts.

Chance is a capricious God, one that made me suddenly find myself with my distorted reflection. Yes, a scar identical to the one I had as a child, a face deformed by misfortune, just like me.

But, even though we had that in common, we were very different. (Y/N) was cheerful, outgoing and didn't let anyone make fun of her. I was the opposite, like an evil double, like the negative of a photograph. It might seem silly, but, as the days went by, that urge to want to go back to the warehouse became more and more intense.

Sewing in my workshop, as always, I searched in my head for a logical explanation for my sudden interest in that young woman, like every time I did, without finding an answer.

“Angie,” I said, frowning, looking at the old sewing machine. The doll, having fun with her new wool balls, walked towards me comically getting tangled in the yellow thread.

“I hope it's not something to do with the girl from the warehouse,” the puppet hissed. Poor thing, she was sick of hearing me talk about her.

“No, no,” I said with a look that gave away my lie. “Look,” I helped the doll to get on my lap while pointing at the old machine.

“What's wrong?” she asked, looking at the machine and then at me, confused.

“Don't you see it?” I asked with a frown, picking up a piece of freshly sewn fabric. “Look at these seams, they're not right.”

“They’re just like always,” the doll commented, playing with the piece of fabric in her hands.

“No, no, not at all,” I said, shaking my head again, blinking, giving away my lie. “There's something wrong with the machine.”

“Do you know what's wrong? Your brain,” the doll mocked, causing me to grunt. “There's nothing wrong with the machine, Donna.”

“I'm telling you, it's broken,” I insisted, pretending to look for the fault that old machine didn't have. “I think there's something stuck… I should take it to (Y/N). Maybe she can take a look at it.”

“Oh, of course, of course…” the doll sighed, moving her arms in an exaggerated way. “You just want to see her again.”

“No, I… Non è vero…” I muttered, stumbling over my words. “It's, it's the machine…”

“There's nothing wrong with the machine, silly Donna, stop making stupid excuses. If you want to see (Y/N), why don't you just go?” Angie said, putting a wooden finger on my nose, which I wrinkled in displeasure, determined to deny the evidence.

“It’s not about that, Angie,” I protested, pounding my fists on the table but relaxing instantly. “I want her to take a look at it.”

“A look?” the doll scolded me. “Oh, yes, what a great idea… What are you going to tell her when she realizes that the machine is perfectly fine?”

I tried to fight back, but I couldn’t. I huffed angrily, gritting my teeth. Angie was right. My legs trembled nervously as my gaze wandered to the old machine. I didn’t even think about it.

With a quick gesture, I pushed the sewing machine to the floor, crashing against it with a dull sound, indicating that something had broken. It was a pathetic, almost desperate plan. I still didn’t know what I was doing, why I was doing it, or rather, I didn’t want to know.

“Silly Donna! Nonna’s machine!” Angie shrieked, getting down to the floor to check the condition of the machine. I remained serious, but I adopted a haughty pose.

“What do you say now? Diamo un’occhiata?” I asked mockingly, bending down to pick up the broken machine from the floor, ignoring the insults and protests of the doll.

It was too easy for me to put the veil back on and leave my house. I had a fixed destination. I had her beauty waiting for me. I think I was starting to get too nervous. Breaking my grandmother’s machine so I could see that girl… It sounded crazy, but I didn’t want to think about it.

“Oh, my lady, what a surprise,” (Y/N) said, coming down a ladder, with a, as always, beautiful smile. “The Duke has already returned from his trip, he should have brought you the fabrics.”

“Yes, I…” I murmured nervously, holding the box under Angie’s fierce gaze. “I wanted, I wanted to see you.”

“Me?” the girl asked, approaching curiously, brushing the dust off her dress.

I could only nod, leaving the box on the counter.

“I thought you could help me with this,” I muttered, with a broken voice, much more nervous than in our first meeting.

“Wow…” the young woman commented, taking the broken machine out of the box, observing every detail. “A Singer 66k, from 1917… What happened to it? It's in pieces…”

“Angie threw it,” I lied cowardly, earning a furious gasp from the doll.

“What are you talking about?!” the doll shrieked unpleasantly. “Liar, Donna liar, Donna…!”

I silenced the puppet with a subtle movement of my hands, making it stop screaming and move away, unable to stop it from glaring at me as it did so.

“Oh, that was a nasty fall…” (Y/N) joked, studying the machine. “It's a shame, it's a beauty.”

“C-Can you fix it?” I asked timidly, starting to regret what I had done. Her smile showed me that I shouldn't do it.

“Mm, I think so,” she said nodding, moving the machine to a small table with tools. I followed closely, watching her curiously. “Let's see…”

“I can, I can leave you alone if you are more comfortable,” I murmured when she started working, checking the pieces with a frown. She stopped and looked at me, shaking her head, with that wonderful smile…

“Oh, no, well… It's good to have some company, besides, that way I can prove that I'm not scamming you,” the assistant said amused, carefully unscrewing the machine.

“I trust you,” I said without thinking, playing with my hands again, trying not to look at her face, not to notice that scar that told me we had something in common, even if she couldn't know it.

“You must be the only one,” she commented sighing, searching for something in a box of spare parts. I tilted my head curiously. “Normally the people of this village are quite distrustful… I can't blame them, my boss is not exactly a… reliable man…” she said smiling, making the gesture of quotation marks with her fingers.

“You are not like him,” I said, stating a truth of which I was completely sure.

“Mm no, I hope so,” the girl joked amused, struggling with the machine. “Okay…”

Silence reigned again in the warehouse. She worked on the machine with surprising skill while I watched her, memorizing each of her movements. If she had noticed how I looked at her… Well, she would surely be terribly uncomfortable.

“So… Do you use this machine to you make clothes for your dolls?” (Y/N) asked, taking me out of my thoughts. “Y-you made dolls, right?”

“Cosa?” I said distractedly, thinking about her past, about how she had to live through that attack, about her courage when facing mockery and offensive comments, how did she do it? “Oh, I… Yes, yes of course…”

She smiled, nodding, without stopping working.

“You know? You can tell the quality of a handmade product…” she commented distractedly. “I mean, there are modern machines now but… If you ask me, I prefer the old ones, like this beauty”

“Y-Yes, I… I think the same,” I said with a smile that she couldn't see, luckily.

“I think… I think it's done,” she said, moving the crank to check that it worked correctly. “Just like new.”

I didn't expect it to end so quickly. I got nervous, like every time something didn't turn out the way I had thought.

“You are… You are skilled,” I flattered her, taking the machine and checking that, indeed, it was already fixed.

She shrugged, with an amused smile.

“There had to be something good about me, right?” she joked, getting up from the table and passing by me, allowing me to look even more at her beauty.

“Uh… Tell me how much I owe you,” I said, putting the machine back in the box, searching in my head for an absurd excuse to stay a little longer, just a little longer…

“Oh, nothing,” she said, looking at me amused, shaking her head. “It’s not necessary.”

“W-Wait, I have, I have to pay you,” I said, with my hands starting to sweat again. You relaxed your expression, sighing and shaking your head again.

“No, that it’s not necessary,” the girl said with a confused smile, surely due to the trembling of my body. “I’m happy to help you, my lady.”

“No, don't be condescending to me for who I am, I beg you to let me pay you,” I insisted with a darker, almost angry voice. Her smile was worth more than all the gold in the world...

“I'm not condescending, I'm just doing you a favor, I like you,” she murmured, frowning, as if she was trying to meet my gaze.

I pointed at myself in surprise. The words refused to come out of my mouth.

“Do you... do you like me?” I asked stammering, puzzled by that phrase, one that couldn't be true.

“Yes, you're kind,” she said, looking away. “It's not something that's especially common in this place.”

“Oh, well, I... I...” I said nervously, having the imperative need to run out of there to hide my embarrassment, the invisible blush on my cheeks. “Grazie, (Y/N)…”

“Prego,” (Y/N) said, with a wider smile, as if she knew the reaction that hearing her speak that way would provoke in my body, paralyzing it completely.

“D-Do you know Italian?” I asked curiously, with my voice shaking at the same time as my body. She laughed amused, with a clueless expression.

“Nope,” she whispered in an ironic tone. “I know the basics.”

“Oh, of course…” I said, even more nervous, looking for Angie with my gaze. “I… I'm, I'm leaving now and… Well, we'll see each other, and…”

“Whenever you want,” (Y/N) said, sitting on the counter casually, swinging her legs and picking up what looked like a cup of coffee. “Um, my lady,” she said suddenly, when I had already turned around. My blood froze again. “I hope your doll doesn't break any more things.”

“Hey!” Angie protested, rummaging through the counter. “Shut up, you idiot!”

“Angie…” I sighed, gesturing with my head so the puppet would stop stirring everything up.

“She seems to be funny,” (Y/N) commented, looking curiously at Angie.

“Yes… W-Well… She's… I don't know how to describe her…” I said, more and more nervous. “I guess she's one of a kind.”

“I see, she's like you then,” the girl said in a low tone, one that betrayed nervousness. The doll was making her nervous.

“Angie, basta,” I growled at the puppet, who was staring indiscreetly at the cup of coffee.

“Do you like coffee?” the saleswoman asked in a kind tone, looking at Angie, letting me see her beautiful, damaged face. It was so similar to mine…

“I don't know,” Angie said, in a petulant tone. “What I know is that calling this thing coffee is blasphemy, how disgusting.”

“Angie…” I protested, losing my nerves, kicking the floor pathetically.

“Hey, it's not that bad, is it?” (Y/N) asked, bringing the cup to her lips and making a face of disgust. “Well, maybe it is.”

“Don't mind her, (Y/N)…” I sighed, noticing how the sweat ran down my forehead, how my nerves kept increasing. “Angie, dai!”

“Don't be mad at her, my lady, she's right,” (Y/N) said, pouring another coffee into a different cup. “Maybe you can give me your opinion… You, you Italians are good with coffee, aren't you?”

“Me?” I asked, leaving the box on the counter, timidly reaching out my hand for the cup she offered me. “W-Well, I wouldn't know how to answer that… Actually my, my family was Italian, I… I was born here.”

“Well, but I'm sure you have better taste than me,” the girl commented, leaning on the table, frowning suddenly. “Oh, it's not mandatory, I'm sure you have a lot of things to do instead of wasting time with me.”

“Not really,” I whispered, breathing heavily at her apparent nervousness. Not wanting to think, not wanting to feel the things I felt when looking at her, I brought that steaming coffee to my lips, moving my veil aside.

(Y/N) looked away, not wanting to be indiscreet, respecting my decision, but fighting with herself to do so. I could see her confused face, her desire to look at me.

The bitter taste filled my throat. It was really horrible, I hate having to agree with Angie.

“How is it?” the young woman asked, with a fearful look. I shook my head, pushing the disgusting coffee away from my sight and smell.

“È orribile…” I murmured, trying to sound amused. I never knew how to do it.

“I thought so…” the girl sighed, making a face of disgust at that cup. “No matter how hard I try, I can't handle that thing,” she said amused, pointing to an old coffee maker.

“Do you want me to show you how to do it?” I asked without thinking, I asked without wanting to, without being able to help it. She looked at me curiously, then at the coffee maker, and finally at me again, nodding with a shy smile.

“Well, it's not necessary,” she murmured, scratching the back of her neck, downplaying it.

“Please, consider it… A favor,” I said, mysteriously sure of myself. “Because, because of the machine.”

“Mm, well, okay,” she said quickly, gesturing for me to follow her.

As calmly as I could, I taught the young woman how to make a real coffee and how to handle that coffee maker properly. She listened to me attentively, looking at me from time to time and writing down my advice in a notebook.

She was so close to me, her bright eyes were so close to mine… I don't know at what moment I was stuck in her gaze, in her almost perfect face, no, no, in her perfect face.

“It smells so good…” she commented, inhaling the intense aroma of coffee, closing her eyes, granting me the blessing of contemplating her relaxed face, her tender gaze. “I was definitely doing everything wrong.”

I laughed shyly, pouring some coffee into a cup, offering it to her kindly, praying that she wouldn't notice my shaking hands.

“Try not to fill it with too much water,” I said with a serious tone, pretending disinterest while she tasted my creation, with a look of satisfaction. “Always pay attention to the valve.”

“Yes, this is wonderful…” (Y/N) sighed. “Oh, sure, um… Let me pour you one cup.”

“I… Okay…” I stammered, accepting the offer to sit next to her in a couple of chairs.

Without having thought about it, we were together, enjoying a quiet coffee.

I couldn't remember when I felt so calm, so relaxed and at the same time, so nervous, with my heart beating too fast. I guess it was the coffee…

“And then I told him: I don't need to see with both eyes to notice that you're a complete idiot,” (Y/N) said, chatting with me in a friendly way, as if she had known me all my life. I wish it were like that.

“Did you tell him that?” I asked amused, unable to stop smiling. She nodded with a serious look.

“He wanted to go on a date with me to give me a chance, can you believe it? A chance, as if I couldn't choose...” she asked ironically, shaking her head.

I didn't answer, I just listened attentively. Her anecdotes were funny, but hearing them through her lips... That was out of this world.

“Bah, I don't need a stupid boy to tell me nice things... I know he would only do it out of pity,” she said with a slightly sadder tone.

“Mm,” I murmured, playing with my hands in my lap.

“Every morning I look at myself in the mirror and think: what would my life be like if I didn't have this thing on my face?” she commented distractedly again, stirring her coffee with her spoon erratically. “I always come to the same conclusion: Here I am, this is me, and if you don't like it, fuck you... Oh, I mean, sorry... Go to hell?”

I laughed again, a bit sadly. I saw so many things about myself in her, things she didn't consider a problem. She was brave, I was a coward.

“I wish I could think the same way,” I murmured with a broken voice, attracting her attention, drawing a confused look towards me.

“Why do you say so?” she asked in a different tone, with a more discreet smile, with the glint of caution in her eyes.

I suppressed a sob. (Y/N)'s attitude was admirable, enviable. I was never able to accept reality, to look at myself in the mirror in the same way. I was a monster, and she wasn't.

“Forget it, it's nonsense,” I sighed, getting up, wanting to go home, wanting to cry for being unable to recognize the meaning of my heartbeat, wanting to scream, to curse the Black Gods for being unfair to me.

“Oh, have I, have I said something wrong, my lady?” (Y/N) asked, suddenly standing up, putting a hand on my wrist, making my whole body shudder.

“No,” I said in a cold tone, moving away from her grip, perhaps too abruptly. “Dai, Angie,” I whispered to my doll, who was playing with the junk in that warehouse.

“W-Wait, I'm, I'm sorry,” the girl said, stopping me from continuing, standing in front of me with a pleading look.

“Why are you sorry?” I asked, with an involuntary resentment in my voice.

“Well, I, I didn't want to offend you… If I’ve said something I shouldn't have… Oh, of course, it's because of the: fuck you… I don't usually swear, really… Not always…” the young woman stammered nervously, with her gaze traveling everywhere, unable to focus on mine.

“You haven't offended me,” I said, trying to sound softer so my demons wouldn't overwhelm me again, not at that moment, not with her. “I have to go.”

“Sure, I…” she stammered, helping me to pick up the box again, with a fake smile. “Um, if you're not mad at me… Maybe you'd like to come tomorrow.”

“Tomorrow?” I asked, surprised by that offer.

“Yes, you know, I, I'd like you to check if I've learned anything about coffee,” she said nervously, with a strange blush on her cheeks.

“Do you want me to come here tomorrow?” I asked again, unable to believe her words.

“Yes, well… Yes, if you want,” she whispered, biting her lip and looking away.

“Mm, maybe I will,” I murmured, smiling, taking advantage of the fact she couldn't see me, my smile was hidden from her, as my monstrous face was.

That was the beginning, just the beginning of my constant visits to that old warehouse.

Funny conversations, exploits and experiences of (Y/N)… Any reason was good to hear her voice, to look at her beauty under the aroma of coffee. I could no longer deny myself my feelings. I couldn’t stop thinking about her, every minute, every second.

“Donna and (Y/N) under a tree …” Angie sang, jumping around while I, like every day, walked towards the village. I growled angrily at the doll, wishing she would shut up.

“Angie, per favore…” I sighed, shaking my head. “Don’t, don't talk that loud…”

“Oh, come on, there's no one here,” the puppet protested. “Besides, you're offended because you would like to be with (Y/N) under a tree.”

“Yes, it's true,” I said with a murmur, taking the doll in my arms so she wouldn't entertain me any longer. “(Y/N) is wonderful, don't you think?”

“(Y/N) is wonderful, beautiful, good, kind, fantastic, the best… Yes, yes, you've been repeating it constantly for weeks,” the doll mocked.

I smiled embarrassed.

“I've never felt this way about anyone,” I sighed, walking slower. “Angie, I'm… I'm in love with (Y/N)…”

“I know!” she complained, crossing her arms. “You're so annoying, Donna…”

“I'm not annoying, I'm talking about my feelings,” I said with a frown. “Hey, do you think, do you think she…?”

“Oh, no, no… Don't try to make me believe that I'm a fortune teller or something, I've already told you that I don't know if she feels the same. I can't read minds,” Angie said, shaking her head.

“But you're always with us,” I said, stopping before crossing the door. “Maybe, maybe you saw something that…”

“Oh, yeah… She doesn't take her eye off you,” the doll mocked with an evil laugh. “You get it? her eye.”

“Cazzo… I'm serious,” I said with a stern tone, starting to breathe hard.

“Me too,” Angie said, defensively.

I sighed, frustrated for not knowing, for not being able to read her thoughts, to decipher her smiles, to know if in any of them, she expressed something else than friendship…

“Oh, but that's not what I'm looking for,” the voice of an unknown woman made me stop in front of the warehouse door. (Y/N) was not alone.

“Who is that witch?” Angie asked, peeking through the door. I covered her mouth, hiding behind a wall.

“Mrs. Gravic…” (Y/N) sighed with a tired voice. “If you would be so kind as to tell me what you are looking for…”

“How rude, girl,” the woman protested, with a tone that made me burn with rage. “I don't know why the Duke hired you…”

“Donna… What do you think?” Angie whispered, rubbing her hands in a playful manner. I nodded, concentrating and gently reaching out my hand towards that unpleasant woman.

“Let's see… What do you say about this?” (Y/N) said, leaving something on the counter, something I couldn't see.

“Mm… Well, it could be that… Oh, Black Gods… Grandpa Igor…” the woman sighed and I smiled in satisfaction.

“Excuse me?” the girl asked, confused.

“Oh, I didn't mean to steal Grandma's jewels, don't chase me, leave me alone… No!” the woman screamed, running out of the warehouse in horror.

I nodded to the doll, high-fiving her. Mission accomplished.

“Hey, Mrs. Gravic?” (Y/N) said, looking at her confused, smiling when she saw me walk through the door. “Oh, Donna.”

“Ciao, (Y/N),” I said with the tone I always used for her, a calm one, increasingly sweeter, increasingly obvious.

“You came early today,” she commented, closing the door, like every time we were together, as if she wanted to save that moment just for the two of us. I shouldn't mistake that kindness, but at the same time, I couldn't help but do so.

“Well…” I said disinterestedly, leaving Angie on the floor, sitting on my usual chair. “I hadn’t anything better to do… I mean… Ugh…”

She laughed amused, shyly looking away, pouring the usual coffee.

It seemed like any other conversation. My words lost their fear. They became bold, even funny. All conversations developed the same way, all except that one.

“Um, forgive me for asking you but…” (Y/N) murmured, with a serious, different tone, with a look far from usual. “You probably think I'm stupid or… Well, that I'm butting in where I shouldn't but… I'm, I'm curious.”

“What are you curious about?” I asked, confused by her different attitude, by the fear I began to see in her hands.

“That,” she said with a sigh pointing at my covered face, one to which I brought my hand, with my breath frozen, lacking air.

 No, not that, my love…

“Um… What?” I asked nervously, diverting the conversation, saying with my gestures that this was the wrong path, that it would only bring her problems.

 “Well, you know, your veil… Why…? Why are you wearing it?” she asked again, her voice increasingly blurred by nervousness.

“Hey! Don't dare to say that to my Donna!” Angie shouted, staring at her, as if she was trying to do me a favor by deciphering her expressions.

“I…” I muttered. My hand was shaking so much that I dropped the coffee cup, breaking it into a thousand pieces on the floor. “Oh, porca miseria!”

“No, it's okay!” she exclaimed, putting her hands in front of her body. “It, it was my fault, I shouldn't have asked that… I, I… I'm, I'm sorry, shit, oh, no, no, I mean, dammit! I'll go to get a broom.”

I stood up, looking at the mess beneath me, nervous, seeking Angie's comfort, one that always brought me back to my senses. I couldn't find her, but I made a decision, the last decision, one last act of stupid bravery.

“Wait,” I said in a whisper, grabbing (Y/N) by the wrist as she swept the floor. “Wait, (Y/N)...”

She looked at me scared, guided by the movement of my hand, which forced her to keep her eyes on mine. Slowly, letting her go, I brought my hand to the black fabric, removing it from my face, revealing my deformed face to her.

Neither of us said anything. (Y/N) blinked in confusion, staring at me, getting a little closer, squinting, mouth agape. I looked away, suppressing my desire to put the veil back on, to run away and never come back.

“Wow...” she sighed, reaching out her hand to my face. I breathed nervously, holding her wrist tightly so it wouldn't reach its destination. I was about to lose my mind, in front of the love of my life… “Donna, wait, let me do it, please.”

I closed my already wet eye, holding back my tears, letting the softness of her hand caress my horrible scar, touch my hair with a rapt look.

“It's, it's incredible...” she murmured again, without stopping caressing me while I, nervous, unable to move, let that tear run down my cheek.

(Y/N) took her hand away, bringing it to her own scar, shaking her head. I couldn't speak, I couldn't even move.

“Donna, you are, you are... You are such a beautiful woman...” she said, smiling in a nervous but sincere way, illuminating me with the light of her beauty, returning her hand to my deformity, as if she herself were as nervous as I was.

“What are you talking about?” I said with great effort, almost furious, clenching my teeth. “N-N-non mi mentire…”

“I'm not lying…” she sighed, touching her own scar again, with a look of astonishment. “Wow, it's… Incredible… We have almost the same scar… Wow… Forgive me, it's just… What a coincidence, isn't it?”

“No, you're beautiful and I'm horrible,” I said sobbing, not believing her words, not even for a second.

“Oh, you must be joking,” (Y/N) said in a calmer tone, almost amused. “You have… You have a beautiful face… And well, what about that eye? It's, it's the most beautiful eye I've ever seen in my entire life.”

“What? Have you gone crazy?” I asked nervously, letting the veil fall to the floor. “Are you laughing at me?”

“Do you really think I'm laughing at you? Really?” she joked, pointing out her defect with a smug pose. I shook my head, trying to control my thoughts. “No, Donna, I'm telling you, I'm telling you the truth… Wait, what did you say?”

“Mm?” I muttered confused, running my hand through my hair, feeling unable to handle the situation any longer.

“That, that thing you said before…” she said, gesturing with her hand, accidentally stepping on the remains of that cup. “You know, that I'm…”

“You're beautiful,” I said with my head down, clenching my fists tightly.

“Mm, and how do I know you're not lying to me? You're my friend, there's no need to be accommodating,” she joked with an amused face, completely ignoring my subtle statement.

“Friend? Are you stupid?” Angie asked. “Donna, please… Tell her now.”

“Tell me what?” (Y/N) asked, curious. I cursed my doll. I was becoming more and more nervous.

“I don't know what she's talking about,” I stammered, having to stop my legs from running away right then and there.

“Hey, you can tell me anything, Donna…” the girl said, whispering in a tender voice, lowering her hands to mine, caressing them in a way that I thought was friendly, that I didn't think was romantic. “Really…”

“No, I…” I said, blinking nervously.

“Is there something worrying you?” she asked again, getting closer to me. “Come on, you can trust me.”

“(Y/N), I…” I stammered again, becoming almost hysterical as I looked at her peaceful gaze.

I couldn't believe it. I couldn't believe it was so difficult for her to understand my feelings. I had taken a definitive step, I couldn't go back. I couldn't turn back now that I had come that far.

“Cazzo! I, I like you, (Y/N)!” I squealed disproportionately, making her widen her eyes and frown.

“Oh, is that it?” she said, still smiling, not getting the not-so-indirect hint. “Oh, Donna, I like you too.”

“Angie’s right,” I hissed angrily, shaking my head. “Are you stupid? I’m telling that I like you, damn it!”

Her face immediately changed to a confused look. I growled again, kicking the chair roughly.

“What do you mean?” she asked again. I froze, turning to her slowly and dangerously. A thunderous laugh filled the warehouse. Angie seemed to be enjoying that.

“Porca puttana!” I squealed again, kicking the floor in rage. “I love you, (Y/N)! I’m fucking in love with you! I can't stop thinking about you day and night, counting the hours until I can see you again! I love you, ti amo! You're the woman of my life!” I squealed abruptly, making her blink comically.

“Oh…” she sighed, with an amused look.

“Is it clear now? Or do you need me to write it down for you?” I said, losing control of my emotions.

(Y/N) shook her head, but didn't say anything, so I growled furiously again, grabbing the notebook from the counter.

“I…Love…You. That's it, you still don't understand?” I said furiously, tearing off the paper and angrily putting it on her chest. “Taci, Angie or I'll deactivate you!”

“Hey… Come on… calm down…”(Y/N) said, putting a hand on my trembling shoulder, turning me around slowly. “Calm down…”

Her soft voice relaxed me, but the tears were already traveling freely down my horrible face.

“Shh…” you whispered in a tender voice, taking my hands again while I, desperate, shook my head.

“I-I'm in love with you, (Y/N)… Ti amo…” I whispered more timidly, coming back to my senses little by little, dying of embarrassment for my nervous outburst.

“Yes, I've already realized,” she said amused, bringing one of her hands to my intact cheek, wiping away one of my tears. “Donna… Listen to me… I… I feel the same way about you…”

“What?” I asked nervously, startling myself.

“The truth is that I didn't expect to fall in love with a Lord but… Well, I guess life has brought us together for a reason, don't you think? And I'm not just saying that just because... Well, you know," she said in a pleasant voice, pointing at her scar.

“You... You have feelings for me...” I said, not knowing if it was a question or a statement.

(Y/N), still caressing me, nodded.

“Please! I'm going to get diabetes!” Angie shrieked, breaking the magic of the moment. “Yuck...”

“Angie...” I lamented, just when I was starting to enjoy that moment.

“It doesn't matter, Donna...” she said, amused, still looking at me, still piercing my heart with her gaze. “You can tell she’s happy...”

“Well...” I said, laughing nervously.

“Hey... I thought about closing the store for today,” (Y/N) said, moving away. “Maybe you'd like to do something together...”

“Vu-Vuoli... Vuoli...fare qualcosa... in-insieme?” I stammered awkwardly, not keeping control of my own language.

“If you told me what I think… Yes,” she joked playfully. “Let’s do something together…”

“Oh, okay, I… Io… We can, go… You can… You can… You can come to my house if you want… I, you… you liked sewing, right?” I said nervously.

She nodded with a funny look.

“I can, I can show you my workshop, and… I can, I can… We can sew together… se… se hai voglia… E… And, I can, I can show you my bam… My dolls, and… I can, I can make one like you if you want, and we can, we can…”

“Donna,” she said, interrupting my pathetic attempt at conversation, relaxing my nerves with a soft caress, one to which I also joined my hand. “I would love to go to your house…”

“Really?” I asked, nodding, with a sincere smile, far from my usual nervous look. “Would you like to?”

“Yes…” she sighed, getting dangerously close to me. “But first, I'd like to do something…”

“Oh, okay, wh…?” I said nervously, interrupted by her lips, which kissed mine, caressed them in a tender way, in a way I never expected to feel. I don't know what her first kiss had been, but mine… I would never forget mine.

“Much better, don't you think?” she sighed still on my lips, letting the rhythm increase on its own, so I could kiss her without fear.

“Ugh, they’re kissing!” Angie protested.

We both smiled, resting our foreheads on each other.

“Come on, honey… I'm looking forward to see your dolls…”

[kaydens-agere]

🦄Wade W. Wilson/Deadpool Agere Headcanons and Moodboard Pt 1⚔️

*just a note, I started writing these before Deadpool 3 came out, so all of these are from the first 2 movies, I'll do updated DP3 ones at some point ^^

GENERAL INFO -Has always had a regressed headspace of some form (he had a shitty childhood so it checks out)

-His age range is all over the place, so he doesn't really have a specific range. He's around 7 or under most of the time, but can regress into his teenaged years.

-Also a pet regressor, he regresses to a puppy and a unicorn (duh).

-Started regressing a lot more after he gained his superpowers. The process was super traumatic for him, so his brain needed to regress more often to compensate.

-Still loves hanging out at Sister Marget's, Weasel has tried to kick him out many times, but he refuses to leave (mostly so Wade can get on his nerves, he likes doing that regardless). Most bar visitors know about him being a regressor and they're all chill with it (and even if some aren't, they don't say a word because they know that Wade and his friends can and will fuck them up). Weasel will give him some colouring in to do, but he likes to do self portraits of him flipping people off (charming /sarc).

-Refuses to let go of his unicorn. It was a big comfort item for him when he was actually a child. It brings him comfort when he's big, but it really comes to the surface when he's little.

-He somehow swears even more when he's little, he thinks its funny when the adults laugh or give him a look of shock. Even while he's little, he loves getting attention.

-Loves to host tea parties with his caregivers, he'll tell them all the gossip that's going on between his plushies. "Yeah! Rainbow Dash is being a really big bitch and-" "Wade!"

-He's literally a pretty princess. He has one of those mini princess themed vanities that he does his make-up at, and sometimes he'll do other peoples makeup (sometimes willingly, but he forces them most of the time). He also has a lot of princess dresses and loves to play dress up.

FRIENDS, FAMILY, ETC -Very sweet around Vanessa. He puts up a tough facade around others when he's small to make them laugh, but that disappears around her (not entirely though, he's still Wade). He loves to cuddle up with her. She was the second person he ever told (after Weasel) and she was incredibly accomodating and accepting. She was always sweet and caring towards him, but knew when to put her foot down if she needed to. She was literally Wade's perfect caregiver.

-After Vanessa died, he pushed it off as much as he could. It was too painful to be small without her. He finally started regressing again after he got comfortable with his new family. (this one is inspired by @genderfluideadpool)

-Weasel was the first person he told about his little space. He didn't understand it whatsoever at first, but after a lot of talks from Wade and witnessing it enough, he finally understood. He may tease him for it a bit, but it's all in good fun and Wade doesn't mind because he knows that Weasel accepts him. He doesn't have a lot of time to take care of Wade properly, but he tries his best when he can. If little Wade is sitting up at the bar, he'll serve him a giant glass of strawberry milk while he colours. They still have their playful banter, but it's altered depending on how old Wade is.

-Dopinder absolutely adores little Wade and deep down he's extremely happy and grateful and he felt comfortable enough to tell him about it. If he's taking him somewhere, he'll play things like 'I Spy' to keep him entertained. In headspace, he likes to call him "Tiny Pool" and "Baby Pool", he loves seeing the gentle blush that forms across Wade's cheeks when he calls him those.

-Colossus has known about Wade's little space for a long time. Although they haven't always got along, he tries to be there for little Wade when he needs to. He tries to make sure that he's fed and hydrated sufficiently, and in Wade's words, he can give a mean piggyback.

-Although Negasonic can be rude and sarcastic to Wade at times, she tries to be nice to him when he's little, she understands that he's more sensitive and vulnerable and knows that being rude to someone in the mindset of a traumatised child is crossing the line. She's not the most responsible though, she loves to help him plan pranks to play on the other X-Men, which they find amusing (even Colossus, who struggles to hide his smile as he scolds them)

-Yukio is extremely sweet and gentle to Wade when he's little. She's good at calming him down if he's extremely overwhelmed or upset. She'll do some breathing exercises with him and talks to him in a very soft voice. It reminds him a lot of Vanessa, and while it was painful to hear at first, he eventually got used to it and finds it very comforting. She's usually the first one to join him when he colours (in case you couldn't tell, he loves colouring in)

-Domino found it very endearing. She's extremely educated on the topic and will gladly beat someone up if anyone treats Wade's little side badly. Like Yukio, she likes to play games. But she plays the more active ones like tag and hide and seek. She's good at getting all of Wade's energy out, which comes in handy when it's bedtime and he's running up and down the halls screaming.

-Much like Weasel, Cable didn't understand it at first, but after a lot of talks from Wade and the team, he accepted and understood it. He always goes soft around little Wade, he likes to carry him around and say silly things to make him laugh (Negasonic has a photo of this as blackmail because he refuses to show his soft side around anyone)

-Russell kinda poked fun at him at first, but after a very, very long talk, bordering on lecture, from Colossus, he apologised to Wade and reassured him that he won't judge him anymore. He's kinda awkward when Wade is on the smaller side, he's not exactly sure how to interact with little kids, but when Wade's in a teen mindset? You best believe they're running around the mansion, stirring shit up constantly.

I definitely needa do a part 2 for these, I have so many headcanons for him floating around in my brain

Image Creds/Where I found them ❤️🖤❤️ ❤️🖤❤️ ❤️🖤❤️ ❤️🖤❤️ ❤️🖤❤️ ❤️🖤❤️ ❤️🖤❤️ ❤️🖤❤️ ❤️🖤❤️

[lenle-g]

unhinged observation - we all know their colours don't match the traditional ones, but I've never noticed before that on the portraits they put Jeff in red and Virgil in green, but then they swap them over when we actually see them. In fact, //pause while Len goes to look// when they're in TB3, they're all wearing red - like all the space-rated suits, specifically are red. //Goes to check again// and Gordon and Virg are in green with TB2 in the opening rescue to match Jeff as well.

Does that mean, in 2004 verse, they wear whichever colour matches the 'bird they're currently flying because other than them needing 5 suits each... that's pretty cool can't lie good for them

ignoring the fact they look the same, I can be like ??? well yellow must be wetsuits, red is space rated?? Green is ?? tougher maybe, blue is for however many G's TB1 hits a body with when they're going crazy speeds, orange is a spacesuit for living in space etc etc

[tamsinbeybey-she-no-porcupine]

bbc Ghosts tattooshop capvers au

okay completely based on @captain-rickbond amazing modern Caphrey drawings:

My brain ran with an Ghosts tattoo shop au and though it's Caphrey bffs of course my brain made it Capvers (no one saw that coming I'm sure😉):

-Robin: tattoo artist style old school has one big lightning tattoo over his whole body nothing else. Does also do stick n poke.

-Humphrey: tattoo artist traditional and neo traditional does classic paintings on the side that he sells ,covered in tattoos himself (based on cap rickbonds drawings)

-Kitty tattoo artist. Style: fineline, floral work, dot work , watercolour and cartoon style

-Mary tattoo artist style: black work specialised in tattoos that look like old book illustrations and sketch style, loves doing witchy tattoos

-Allison tattoo artist photorealism style I. Colour and black and grey

-Cap: store manager

-Thomas: that one customer who gets turned away frequently because he wants face, neck or hand tattoos as his first tattoo

-Julian customer three tattoos one heart with Margot one with Rachel and some pun/innuendo very close if not directly on his gentleman's excuse me. Robin did all of his tattoos

-Fanny: friend of cap does like Humphreys paintings and comes by when she wants to chat, gossip or ask Humphrey to do a portrait of one of her pets (on canvas obviously)

-Pat: customer. friends with all of them no tattoos over shirt lines because he works in a bank. His tattoos are mainly humourous about stuff he loves in cartoon style kitty is his main artist.

-Obi the shop apprentice focuses on graphic style (tattoos that look like graphic design) and / or trash polka

The story:

Cap has few tattoos from different artists. Fineline flowers from kitty and a date that holds great importance to him done by Humphrey, a morsecode tattoo on his chest etc. his tattoos are not visible to others normally. They are small and personal.

Robin has a certificate in how to tattoo scars and made all of his artists learn as well

Havers just moved there and wants to symbolise a new start in life with something beautiful coming out of the scars of the past (upper body/arm scars not the face ones)

He walks in for a consultation and is a bit nervous because first it has to be determined what can be done, if the scars can be integrated and if the goal is to fade them optically or use them to enhance the picture.

It's a busy day and stuff has gone wrong so there's a waiting period and cap gives him tea and they get talking and find out they're both ex military and he's relaxed and smiling by the time robin comes to collect him

During the consultation Havers let's it shine through that he's not exactly sure what he wants style wise so robin who's very old school in wanting to challenge his artists calls them one by one to look at him and asks them to design something that symbolises his wish of a new start

He even calls cap in to ask something about if they still have a specific needle type. Cap sees Havers shirtless and gets extremely flustered. And everyone's like "??" Because normally cap runs the shop like a well oiled machinery but now he can't remember if they have that needle size

Havers returns the week after to look at the designs and the main themes are phoenixes or flowers (a lot of dandelions and lotuses)And cap can see (because he keeps looking🤭) that Havers is a bit overwhelmed with choosing so he brings them all tea and starts chatting with him and it quickly turns out what he really loves from which design so cap suggests they do a collab piece on Havers. And everyone whose in the design gets really excited and of course it means that Havers has to come back for another consultation. By that point the others have caught on that cap is talking to and mentioning that one customer a bit often.

Havers returns the next week and for some reason he got the appointment wrong and is almost an hour early (oh dear) and so that very handsome store manager who is bored on this very slow day takes it upon himself to drink tea with him and chat telling him that he loves the meaning behind his tattoo and that he's in good hands and it'll look awesome on him and he shows him his own tats which makes kitty run to the others and whisper because normally no one gets to see caps tats.

The design is wonderful and Havers loves it but because of size and difficult level aka sitting through the extra spicy pain it's gonna be done in numerous small sessions. And every time cap and him find time to talk to each other or shooting glances at each other.

His colleagues try to get Cap to ask Havers out before it's too late but cap is like that's unprofessional and the guy is here to get a tattoo not be hit on by staff.

With the sessions and the healing process it takes months before the tat is finished and it's very clear to everyone else around them that the attraction between the two is very much mutual

And on the last appointment cap wants to ask him out before he possibly never sees him again but everything goes wrong because Thomas demands that this new poem of his has to go on his neck and Robin argues with him and Julian Fawcett turns up drunk for his appointment and Alison has morning sickness and so cap who waited anxiously for Havers to come pay and say bye had to do the payment real quick and wants to say bye and ask him but then Julian smashes a vase from the counter because he got in on the argument between Thomas and Robin and Havers at one point slips out sad that he didn't got to talk to Cap one last time.

Cap is feeling a bit down over the next weeks and everyone is trying to cheer him up.

A few weeks later Havers is suddenly there again because he lost some lines during healing and Cap wasn't even aware that there was an appointment but Humphrey is like oops forgot to tell you.

The actual appointment is over suspiciously fast. (Aka Humphrey met Havers somewhere accidentally and used to meddle)

And then it's time to say goodbye and Cap can't get the words out and Anthony looks very anxious and he's almost at the door but cap calls out to him, Havers whipping around and cap is like I eh oh well I meant to say...we'll be having a flash day on the third if you're interested.

And something about calling him back just gives Anthony the kick he needed and he informs him that he doesn't think he's the type just yet to get random tats because he's more after meaning. New beginning specifically at the moment which also means new people in his life and there's one person he really likes and wants to get to know even better and then he asks Cap out.

Over the next two years the teasing sentence "cap stop flirting with your boyfriend we're about to open" can be heard almost every day in the shop at which point Havers leans over the counter to collect his daily goodbye kiss before leaving for work.

Havers design btw I'm thinking a phoenix made out of flowers like a flower bomb gone off all over his flank and pieces on his chest and upper arm like flames out of flowers everywhere around the actual bird where there is scarring.

During those two years Havers gets a tattoo of the date of his first appointment underneath the phoenix.

And after that the only clearly visible tattoo Cap has that is done as a collab and on two people who don't have many tattoos (the absolute exception Robin makes which drives Thomas insane) are the wedding ring tattoos for Cap and Havers.