#but she is very good at punching

[the-thing-inside-your-closet]

Danny and Ellie are forced to flee Amity Park. And find themselves in Coast City.

I started writing this with the intention of only writing a short prompt, but then I just kept going until I felt like I’d written enough.

Danny gets caught up in yet another fight with Skulker, only this time it wasn’t because Skulker had come for Danny. No. He’d come for Ellie. And she was already weak from fleeing the GIW who had shot at her the moment she arrived in Amity Park.

Whether Skulker is after Ellie for Vlad, or because he wants her pelt can be up to you.

Either way, he manages to beat Skulker and captures him in the thermos. Just as he lets out a long sigh of relief he hears the sound of an ecto-gun being fired and then his side is burning and he’s falling. He’s falling too fast and it hurts and he can’t stop-

Danny guys the ground hard. His head is spinning, his skin feels like it’s burning, and he can hear the stomping of feet as someone runs towards him.

He needs to get up. He needs to get away. Find Ellie and make sure she’s safe. He’s needs to MOVE- but he can’t. Black spots for his vision as he manages to stand up and his eyes meet the end of his mother’s gun.

Before anyone can speak, he’s falling again, handing face first in the dirt. And the familiar feeling of de-transforming washes over him.

The last thing he hears before loosing consciousness is the grief stricken sound of his parent’s voice as three voices shout in unison.

“OH MY GOD DANNY!”

“DANNY ARE YOU OKAY?!”

“NO, GET AWAY FROM HIM!”

When Danny wakes up again, he’s in his room, the curtains are drawn but he can see the sliver of sunlight pouring in through the gap underneath. He notes that his body aches, but not as much as usual after a fight like that. And there’s a warmth enveloping his hand. It’s soothing, and he almost considers going back to sleep when he notices that there’s a ghost in the room. And all too fast he’s sitting up and staring into the exhausted, red, puffy eyes of his mother looking back at him from where she’s sitting holding his hand in hers.

Just behind her he sees Ellie floating just above the ground talking quietly with his dad.

“Danny,” his mother’s voice draws his attention along with Jack and Ellie’s. “How are you feeling, sweetheart? Are you in any pain?”

He didn’t notice when she’d helped him to lay back down again. “Do you need anything? Ellie here was just telling us about how regular pain medication doesn’t work as well for the two of you. But I’m sure we could find something for you that might-”

“Mom,” Danny rasps. Man his throat was dry.

As if reading him mind Ellie appears by his mother’s side holding out a glass of water with a straw in it. Maddie helps Danny to sit up a little more so he can drink.

“Mom,” he tries again, sounding better this time, “I’m okay. I promise. It’s not that bad!” He starts to lie as the panic sets in. He de-transformed in front of them. He knows he did. And the fear shows on his face, it must, because before he can even begin trying to think up an excuse his mother is crying.

“Oh Danny, it’s okay. We know. And we’re not angry at you. We love you. So much.”

And Danny’s heart swells at hearing it. “You don’t hate me for being Phantom?” He asks quietly.

“No! We could never hate you Dann-o!” His dad’s cheery tone doesn’t disguise the sadness and guilt etched into his face. “We’re just…so sorry that we never noticed before. And that we…” he can’t finish his sentence but he doesn’t need to. Danny already knows what he’s apologise for.

“I’m okay. I promise. I heal fast!” Danny tied to reassure them.

It seems to help a little, though his parents still have a grim look in their eyes. As they make connections in just how Danny would know that about himself.

And Ellie, with perfect timing to cut the tension, announces happily, “Danny! Good news! Your parents said I could stay with you!”

Ellie had told his parents while Danny was unconscious about being his clone. She saw how they fretted over Danny, cleaning and dressing his injuries with the love and care she only imagined from a parent that truly loves you. And they had accepted her almost right away. Jack even crying as he proudly declared himself a father of three.

Jack soon excused himself, saying he’ll go see if Jazz needs any help with cooking lunch. Danny and his mother share a look, and with a final kiss to his head says she’ll go make sure nothing gets brought back to life. And she asks Ellie to please make sure Danny stays in bed and rests.

Danny and Ellie are left alone in his room, and it gives Danny the chance to really revel in everything. His parents accept him. They love him, both sides of him. And they accepted Ellie too! And said she can stay! She doesn’t have to be alone anymore.

Now, a lot can happen in the span of a few seconds, let alone minutes. In the time it took for Maddie to reach the kitchen, their front door was kicked down and a group of GIW agents had stormed in demanding they hand over the ectoplasmic scum they were harbouring.

Jack and Maddie drew their weapons and planted themselves directly in front of the GIW agents. The agents state that a ghost shield was put up around the house to prevent any ghosts from escaping, and by law any ghosts within the premises were ti be handed over for destruction immediately. Jazz runs upstairs to Danny’s room to warn them that the GIW were inside the house and that they needed to run. They need to get to the portal NOW.

With all the authority of an older sister Jazz tells Ellie to grab the go bag Danny had insisted on having prepared, and picks Danny up despite his protests that he could walk. Or well, fly. Ellie turns them all invisible and intangible and takes them down to the lab.

They can hear the sound of shouting, and something breaking and a gun being fired all coming from upstairs as Jazz opens the portal for Danny and Ellie.

Another shot rings out. And then another, and more shouting.

“Quickly you two need to go!”

Another shot.

“Aren’t you coming with us?” Danny, now Phantom, asks suddenly as he and Ellie are preparing to enter the Ghost Zone.

Two more shots.

“Someone needs to be here to deactivate the portal in case the guys in white make it down here. I’ll be fine. Mom and dad will be okay, they’re not here for us so you two need to go. Now!” There’s banging on the lab’s door and Jazz shoves both Danny and Ellie into the portal. The last thing Danny hears before the portal closes behind them is another shot being fired.

Danny is scared and angry as he and Ellie are forced to fly through the zone with no currently known way to get back to his family. He needs to make sure they’re okay. He needs to protect them.

But right now Danny is still hurt, and he needs to get himself and Ellie somewhere safe. They begin to slowly make their way through the zone, looking for somewhere to rest and avoiding any ghosts that might want to pick a fight.

Ellie isn’t sure how long she and Danny have been moving for. It feels like it could have been days, or hours, or even minutes. But Danny can’t fly as quickly right now. He’s trying to keep a brave face for Ellie’s sake but she can see the exhaustion beginning to take hold of him.

So Ellie makes the executive decision to touch down somewhere to rest. She tells Danny she’s tired. Danny knows she isn’t and it’s only because she’s worried and wants him to rest. So he goes along with it and they make their way to the next floating island they come across and thank the ancients it’s empty. The two halfas touch down and Danny slumps over as he sits against a nearby rock. Ellie pulls out some energy bars that were tucked away in the go bag and hands one over to Danny.

They do this a few times, stopping to rest, as they gradually make their way to the Far Frozen. Ellie had insisted on going there, Frostbite would know what to do, and he would be able to help Danny with his injuries that had started bleeding again in all the commotion of escaping, and then flying and hiding from ghosts known to attack Danny regularly.

But unfortunately luck is not on their side yet again as a natural portal rips open directly in front of them, and closes behind them after spitting them out in a city they didn’t recognise.

That’s how Danny and Ellie find themselves in Coast City, hiding out in an old warehouse by the docs while Danny heals and they figure out how they’re going to get back home.

That is, until now.

Danny stares up at his little sister and sighs with the resigned tone of an exasperated older sibling.

“Ellie,” he takes a breath, “what did you do?”

“I’m my defence,” Ellie glares up at Green Lantern, who has Ellie scruffed by the back of her hoodie, before looking back at Danny, “I simply do not vibe with the law.”

[sparrowlucero]

this is the iconic dinosaur horror jurassic park wishes it was

[bacchuschucklefuck]

[sysig]

It’ll all go fine if you’d just don’t worry about it, probably (Patreon)

[occidentaltourist]

bbc: Some sweet #Silvacre content for your FYP ❤️

[aeb-art]

it's pride month, i'm allowed this indulgence

there's another teeny tiny doodle but it's unfortunately a vertical image and it's long so it's under the cut

[littlefankingdom]

Originally, Bruce and Dick slept in the same bed.

I like to twist this around: Bruce, being a young parent, was VERY protective and worried about his boy who wants to go fight criminals with him, and it translated into him refusing to let Dick leave his side after difficult nights. Dick is hurt? He is sleeping in Bruce's bed. Dick isn't hurt but it was a close call? He is sleeping in Bruce's bed. Bruce just got scared but Dick was fine? He is sleeping in Bruce's bed. Dick is scared? He is sleeping in Bruce's bed. Of course, this led to Dick also refusing to leave Bruce's side when Bruce gets hurt or could have been hurt, so he also sleeps in Bruce's bed on these nights. And, as he grew up in a circus, always moving around, he is used to sleeping in his parents' arms or very close by, so it's normal for him.

So, Dick is often sleeping in Bruce's bed, cuddled up to Bruce. And as he grows up, he sleeps less and less in Bruce's arms, and he supports less and less Bruce's suffocating anxiety. Finally, he stops completely.

Some events make him wants to crawl back in his dad's bed (his multiple SA, the destruction of Bludhaven, the multiple times he thought Bruce died, etc...), but he never dares to. He is an adult now, and he fears Bruce would have a problem with it. Bruce is also not that welcoming toward physical affection since Jason's death (something Cass fixes, but that's another story). So, Dick doesn’t, even when he craves to.

Until Bruce is send back in time and believed dead. When he comes back, Dick just cannot stop himself, he needs to hold his dad, and he is so afraid Bruce will dissappear if he isn't touching him. He is holding him all evening long, and when it's time for bed, Bruce wordlessly goes to sleep holding Dick with one arm, the other around Tim. (Damian isn't close enough to Bruce yet to dare come sleep with them, Cass is in Hong-Kong, but she is jumping on a plane and will join the sleep-cuddle pile, Jason isn't back in the batfam yet but the possibility of losing Bruce scared him so bad, he is going to start to make efforts to not be on bad terms with them)

[angel---eater]

i truly have no tolerance for this fandom shittin on random fans personal trans headcanons. someone saw themselves and their experience in this character, isnt that beautiful? why dont you mind your business and focus on your own fan stuff? wouldnt that make you happier? someones headcanon doesnt negate yours. what the fuck is wrong with yall. its playing make believe x2. its just a headcanon. real life trans folks are in active danger right now and some of yall are wasting all your energy abusing others over which pronoun set figments of someone elses imagination 'should' be using

[dw-flagler]

In this post, I will attempt to calmly, reasonably, and in-a-good-faith-manner argue all the points raised by tumblr user @library-bat-girl in the following posts. I am starting a new thread so as not to further destroy the original poster, @skitterenjoyer's, tumblr notifications. Worm (+MHA) spoilers ahead. This will be a long post.

Firstly, I would like to apologize on the worm fandom's behalf. We will not engage in ableism of any kind. I sincerely hope that this was a singular incident and @skittersdrippygirlcock will be better about this in the future.

"MHA has better characters,"

My Hero Academia's primary achievement, I think, is managing to make many decently well rounded characters in a fairly short time-span. It certainly has very good visual character design, with easily memorable character designs, like Mina Ashido or Tsuyu Asui. Most of Class 1A is shown to be more than single-note gimmick characters. For a story with such a tight schedule, and only so much page real-estate, that's impressive! For instance, a character decidedly outside of the main cast, Fumikage Tokoyami, is shown to have more to his personality than "is an edgelord," showing a humility and friendliness that is highly against-type. This is very different than a lot of its peers, especially in Shonen manga, where side characters (and sometimes even main characters) are never more than their tropes (see Fairy Tale, One Punch Man*, The Seven Deadly Sins, or Black Clover). My Hero Academia does clear that bar, by making side characters little more than their tropes. This is to say nothing of the primary cast, who, again, is largely defined by tropes and easily slotted into standardized interchangeable Shonen roles. Rival, Love Interest, Rival but Nice About It. Additionally, MHA has an uncomfortably sexualized main cast, for one composed primarily of minors.

This is compared to Worm, in which many characters are fully realized and could have been the protagonist (and often were in older drafts of the story, due to Worm's 10-year development hell). Every character that gets an interlude, and most that don't, all have fully realized interiority, traumas, and wants. In fact, this is one of the major themes of Worm. Every character, from the protagonist Taylor, to characters so minor they're seen only once (see Damsel of Distress, Dauntless), to major antagonists and monsters (see Jack Slash, Bonesaw) all have their own story, even if this is never shown on-screen. There are no "side characters" in the same manner as in My Hero Academia, because every character is a protagonist of their own story, and not in a trite "life is so beautiful" way.

Taylor isn't the center of the universe, there's an entire world outside of her 3-block bubble. The mechanism by which all characters get their superpowers means that the mere fact of having powers implies this about them. Even the seeming exceptions, aren't (see Alexandria, Garotte). Taylor is a good character. I don't even know how to elaborate on that. She just is. Worm does not have the character Minoru Mineta.

"a better plot,"

What... what is the plot of My Hero Academia? For the life of me, I can't seem to recall. I can tell you the general formula of most of the arcs for the first ~2/3rds of the story. Class 1A goes to do a hero high school thing, like do rescue training, or on-the-job training, or on-the-job-training, or on-the-job-training (they do it like 4 times for some reason), the League Of Villains shows up (even when it's seemingly not the league of villains it actually is the league of villains) they fight about it, the class beats all the villains, and Deku beats up strongest bad guy and also breaks his bones. Repeat step 1. But like. What's... the plot? The League of Villains is evil and wants to kill people and do bad stuff. They explicitly do not have greater motivations. There's generally themes of passing-on-to-the-new-generation, so there's Tomura Shigaraki as the arch nemesis to Izuku Midoriya, just as All Might's Nemesis is All For One. Eventually they fight a big fight about it and I stop reading because I find out about Worm. From what I understand (I have not read the conclusion) the series ends without addressing any long-running questions, wrapping up any character arcs, or concluding anything in a narratively satisfying manner. As if severely rushed.

Worm, there are maybe 15 main stories going on simultaneously, which are all tied into the final confrontation with Scion. The most obvious is Taylor's and the Undersiders' story, about taking over Brockton Bay and defeating Coil, which is a smaller part of Coil's story about taking over the bay, until their confrontation with him in arc 17, when it supersedes Coil's story, and then intersects with Cauldron's story, the Traveler's story, the Case 53s' stories, the Wards' story, all of it, in arcs 18-19. This is one example. A great deal of attention is spent making sure the reader knows that Taylor, the Undersiders, Coil, all of them, are bit players in a very large game. Despite this, it's never hard to follow, because Wildbow, while lacking some of the more flowery prose, manages extremely well at making his stories easy to understand.

"I feel like even people who like Worm can agree that Worm is not the most consistent piece of fiction ever written. The disjointed way it was written meant that emphasis was primarily put on 'What Wildbow thought was cool in the moment', [sic] and the story RADICALLY shifts gears every time a new arc starts."

What? Huh? Worm is extremely consistent. Like. 1.1 to E.x. It's, like. Not disjointed? Oh my god, are you talking about interludes? Is that what you mean? The interludes shift gears? Because that makes sense. It's one of the hardest things about worm, yeah. It's gripping! The interludes are a great idea to expand the world of worm, but the problem is that taylor's story is so intriguing that stepping away from it to focus on something else is hard, no matter how individually interesting. I want to read about taylor's escalation spiral, not the travelers! (As opposed to My Hero Academia having random escalation and de-escalation between arcs with no real explanation. We're reading about lives-on-the-line battles with child-slavers and then move to playing on a playground with little kids? Best I can think of is that this whiplash is intentional, but this is never communicated to the reader. Worm does not do this. Any de-escalation is met with the explicit understanding that this is merely a period of calm before things get even worse). Taylor's story wraps up in an extremely narratively satisfying fashion, following her story to its logical conclusion. There were so many ways it could have been avoided, but there was really only one way that it could have ended.

"better worldbuilding,"

This actually offends me. MHA could have had great world-building. It doesn't. Every potentially interesting bit of world-building is backpedaled out of or stopped before it could get anywhere. Or it's just never elaborated or expanded upon. Everyone having a superpower could have been cool, but the implications of this are nonexistent. The reasons for this having no real implications, that being the banning of quirks, also has implications that are also immediately backpedaled out of. It's been hundreds of years since our time, yet life is exactly the same. Nothing ever happens. Endeavor is a cool concept. I like Endeavor. his existence implies such interesting things about the world, how important hero ranking is to these people's lives, that he would create this horrific system of domestic abuse to try and get to the #1 spot. What does this say about this system of heroes that operates like a popularity contest? It could have said a lot. It says nothing. What does the League of Villains, a league of people who call themselves out-and-out villains, who base their ideology in opposing this system of heroes, say about society? Nothing. On purpose. Worm does something with this. One Punch Man does something with this. My Hero Academia puts it in the story, and lets it sit, unused, for a decade.

Worm has... unique world-building. Because it's both good and bad at the same time. Worm's #1 feature is its world. It's brilliant, full stop. Triggers, The Birdcage, the PRT, Exclusion Zones! Why does the status quo exist? what does it say about that society? What does it say about our society? Why hasn't society radically changed from how it is in our world? This is explained. This plays into the themes. The story wants to say something about this world, and so it does. There are characters whose stories explicitly delve into these themes that are set up in the worldbuilding, like Armsmaster, or Battery, or Bonesaw, or Coil, or Piggot or Alexandria or Taylor herself or Brian or Lisa or ANY OF THEM THEY ALL DO THIS. Sorry.

Anyway, the bad part is that the actual world is not well built (and is kind of racist). What's going on in Europe? There's a 3 blasphemies! a 3 what? never explained. What's going on in Asia, aside from Japan? China is a monarchy for some reason. Why? It's never elaborated on. India gets a little bit of elaboration, we're told its different but not how it's different. Wildbow uses machine translation wrong and names some guy caliph of dogs. This is like worm's #2 problem honestly (#1 is Amy). Wildbow tries to make the implication of a well thought out globe without actually making a well thought out globe.

"stronger themes,"

It really doesn't. As I said in the worldbuilding section, MHA makes a point out of not saying or doing anything. I don't know if editors made Horikoshi walk back the more ambitious story beats or what, but there are multiple points in the story where the author pretty much looks you directly in the eye and goes "This Story Isn't Saying Anything At All Even Though It Looked Like It Would. Lmao."

Worm has lots of themes. I think Armsmaster/Defiant's story is my favorite. His entire character arc (which is fully realized despite him being a background character for nearly the entire story) has a point to it. It says something. It's misanthropic and uplifting simultaneously, and manages to feel like it earns both. It's a shared theme with Bonesaw/Riley's story, explored in two different ways.

"Meanwhile MHA establishes an actual overall theme/message right from the start that expands and develops throughout the story. The worldbuilding is informed by the message, which informs the characters arcs and the people they become by the end of the story."

I notice that you never actually say what that message is. What is it? Like, for real. I'm not being confrontational or anything, like what is the message? Cuz' I can't think of one. My Hero Academia, at its very core, is a defense of the status quo. Much like its world-building, but much less forgivable, because it does do something new and unique with its world-building. MHA could have done some extremely interesting stuff with its early implicit critique of heroic society as shown with characters like Bakugo, or Shigaraki, or Endeavor, or Overhaul, or Midoriya himself! It just doesn't! It doesn't do stuff that Worm does do!

Worm does have a message. It has a lot of messages, actually, some that the author disagrees with somehow. Prison abolition, for one. We know Wildbow loves prison. Anyway, the big one is in the subtitle: doing the wrong things for the right reasons. Taylor's constant spiral of escalation, her dwindling attachments to her friends and greater focus on treating herself like a soldier is prevalent, and it is to be avoided. Taylor isn't a sin-eater. They don't exist. From what I remember, this is sort of explored in Deku's character arc for a short period of time, but much like everything else in MHA, it is backpedaled out of.

The funniest is "don't text and drive" though.

"Just on a basic level the way that the audience is meant to feel about Taylor oscillates wildly between being directed to think of her as a misunderstood victim of circumstance, or history's greatest monster."

That's kind of the point. Like. the audience isn't meant to look at Taylor the same way throughout the entire story. It's meant to change as she changes. Taylor's opinion of Taylor changes. The mistake here is saying it "oscillates wildly." it doesn't. It's a slow and steady change for the worse, as Taylor gets more violent and starts throwing away greater and greater parts of herself to become more like a robot and less like a person.

"But a bigger issue in general is tone. It's very focused on being dark and gritty and edgy, and it makes the mistake a lot of consciously edgy media does. IE: it thinks that all it has to do to be smart is be bleak and/or graphic. It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is."

Did you read the boys and think it was worm? What? It's not being smart when it's bleak or graphic? I actually personally like the endbringers or the slaughterhouse 9, and not because I like watching people suffer. These things exist for a reason. It's not being dark for the sake of being dark. The heroes could stop the slaughterhouse 9. We see that, when they almost stop the slaughterhouse 9 (it's explicitly shown that they are stopped from destroying the slaughterhouse 9). The question then becomes why don't they? It's a grim, brutal calculus, and one that wasn't worth it. That's the point. The Endbringers are different. It's not until arc 27 that they're really explained. You could either read them as a criticism of Eidolon or of ableism, honestly. I mean, it wasn't intentional, he didn't create them on purpose, he needed something to fight, because without that he's nothing. His powers are all he has.

"Worm spends so much time trying to be edgy that as with a lot of edgy media the edginess loses all impact quite quickly and becomes sort of cringe."

I don't really think so, but like. Okay. I don't think this is a reconcilable viewpoint (none of this is really but this especially), so like we're probably gonna have to agree to disagree. The only thing I can really think of as edgy for the sake of edginess is Amy's arc. But even that's not really true. It's meant to be an utterly avoidable tragedy that could never have been stopped because of the people involved. Much like Taylor, actually. Amy could have stepped back from the brink, but she didn't, because Amy could never have done that, and nobody else was willing/able to help. It's supposed to be a thing where you sit back and think of all the tiny ways this could have easily been avoided, but wasn't.

"When body horror happens it still has impact because it's not happening constantly."

I mean, I guess. But like. I never got desensitized to the body horror in Worm. It hit pretty consistently for me throughout. As opposed to MHA, where it was usually walked back by the end of every arc. I never felt much tension or suspense because it felt as if there weren't actual consequences. In Worm, when Brian was strung up on his nerves, it felt disgusting because I was fully aware Worm would explore the ripple effects of this. It felt entirely possible he would die there, or never recover, because Worm didn't pull its punches. MHA did. This is a matter of opinion. We'll just have to agree to disagree about it.

"But most importantly - you root for the heroes because the world actually seems like it's worth saving."

that's just, um. sorry. I'm really trying here. That's just. Uh. Dumb. Do you root for Batman cause Gotham is a nice city? Everything's worth saving, that's, like, at its most basic what the concept of a superhero is about.

"Not only that but MHA simply does villain protagonists objectively better than Worm."

um. No? There straight up aren't villain protagonists in MHA. The villains are the POV characters for, like, one arc? You know what, here's a good spot for it. It's stated throughout the story that Shigaraki and the League of Villains have a goal, beyond just death and destruction. They're here to stop the corrupt society of heroes (that MHA hints at the existence of before backpedaling away from), and bring about a fairer society. But then, and this part pissed me off, one of the characters, I think Bakugo, says: "you're just using that as cover! you just want to kill people, you have no noble goal!" and shigaraki's like "dang you caught me." and then it happens again with Deku! Because My Hero Academia is allergic to saying something. Nope! They're villains! No moral depth here! They're Villains, We're Heroes, Go Put Them In Jail.

This is opposed to Worm, where- "The characters of the villains and their origins are used to highlight the flaws in the Superhuman society"

"Most of the villains are only villains because society failed them in some way, and the specific ways in which that happened become big plot points that then play into the future arc of our heroic characters."

I had to walk away from my computer for this one. It's hard to be civil. It's really hard. Polite and reasonable.

So Worm is about this. To even say this without a shred of irony makes me thing you've never once read a single word of Worm and are doing this purely as bait. Or you've read all of Worm and are doing this purely as bait.

"They're actually extremely complex in a way that ends up being fundamentally important to the overall story - where in Worm the villains are either based heroes fighting a corrupt system or they're histories [sic] greatest monsters... until they're presented as heroes again."

I think I get it now. I really think I do. You're not supposed to agree with all the characters. Like. Worm is inconsistent, in that it follows the perspectives of inconsistent people. Of course Triumph and Armsmaster don't agree on what is right! They're different people, they have different perspectives!

"See. Worm fans keep saying "This is Bait." It's not Bait, you all are simply ridiculous and obsessed with this series to such a degree that you feel compelled to say "This is Bait" instead of just... ignoring it, because you have no actual counterargument."

Perhaps worm fans are inclined to believe you posted rage bait because you brazenly walked into another fandom's post and wholeheartedly proclaimed that the thing they liked was Stupid Idiot Bullshit For Fucking Morons, and refused to elaborate until prompted, at which point you said several things that are demonstrably false about Worm.

"Your only response to anything I've said is pedantry, bigotry, and deflection. If it was obviously just bait why are you engaging?"

Well, I'm engaging because I've been in a foul mood since I woke up this morning. Also because you, again, said some very rude and patently false statements about a story that I really enjoy and find narratively rich, even in its faults.

"MHA's characters do fall into archetypal shounen character roles - but they are all given a solid amount of focus explaining why they are like that and developing them into something bigger."

Again, as I said, it's a genuinely impressive feat to have an ensemble cast like what My Hero Academia has, and give so many of the characters a degree of depth, with such little manga to work with. I think worm does it better, but worm doesn't have to be economical about it. MHA does. The problem I have with this statement is that it becomes a question of scale. How much bigger? They're no longer defined by their tropes, instead defined by their opposition to their tropes. It's still a one-note character, you've merely changed the note from C to C sharp.

"so almost every member of the cast has an arc that either develops them past the person they initially seemed to be or explains why they're like that."

This is probably my favorite part about MHA. They do have arcs! I love ensemble casts! it does a much better job in this than all of its contemporaries, even One Piece. However, they are comparatively simplistic arcs that all follow a similar formula.

"I've heard people say MHA is neocon or pro-establishment but the story literally concludes by showing that society HAS TO FUNDAMENTALLY CHANGE or the same problems that created the villains in the first place will keep happening. The entire time skip specifically focuses on the fact that for eight years the main characters have been forcing change in the world and addressing the issues the villains brought up."

Now, I'm going to be clear. I stopped reading My Hero Academia around chapter 275. I don't know the exact number, but it was the latest chapter in ~mid 2020. I would occasionally attempt to reread, in an attempt to catch up, but give up around chapter 200 out of boredom. I don't know exactly how the story ends, but I have read ~2/3rds of the story. I feel this gives me a pretty good understanding of the general tone of the story, unless it wildly changes tone at the 3/4ths mark, which you have explicitly said it does not, as it is extremely coherent and consistent. Therefore, I believe I can state with some degree of confidence that MHA does not do that.

I would certainly believe that it tries (and fails) to SFP it, but SFP does not promote a fundamental societal change. That's the problem. Strong Female Protagonist was willing to come up and say that Alison lived in a fundamentally unjust world, even if it was never willing or able to offer real change. And hey. You do what you can. I sincerely doubt My Hero Academia is even willing to call its world fundamentally unjust, from the 200+ chapters that I did read.

"In the case of the actual main characters, they have extremely comprehensive character arcs."

Adding this behind the last point just so that I don't have to reiterate I haven't finished the book. I am, however, very much not inclined to believe the actual main characters had extremely comprehensive character arcs.

Which plays back into the initial theory that ANYONE CAN BE A HERO.

man, spider-man did that better (not a real argument, but like, spider-man totally did that better). Not least because midoriya specifically could not become a hero were it not for all might giving him a power.

No, the Villains don't get happy endings,

Why not? Why do they go to jail, even the ones who changed and wanted to redeem themselves? Endeavor never goes to jail. He did some horrible stuff. He's redeemed himself in the eyes of the story, right? Anyone can be a hero, right? So why not them? Why haven't they redeemed themselves in the eyes of the story?

You may wish to turn this back on me and ask why doesn't Armsmaster go to prison? Because he's similar in some respects. But worm never calls prison justice. (for some reason, even though wildbow totally loves prison). Prison is punitive, a tool for those in charge to control those it manages to capture. Maybe some deserve life in the birdcage. Many don't. It doesn't matter. Because the birdcage isn't a tool of justice. It's not meant to be. it's a box to put the uncontrollable capes in, until they can be used as meat shields. So Armsmaster doesn't go to prison because the story says explicitly there is no point to it. But MHA? MHA says there is a point to it. Endeavor needs to go to prison if he wants to atone. He's escaping justice every second he's outside.

I have actually read Worm, and for the first half to two thirds I loved it.

Weird. That's exactly how long I really enjoyed MHA. Not, like relevant, to anything. Just odd. I mean, I don't actually dislike MHA. I think it's fine, actually. It feels like Indiana Jones and the Last Crusade to me. Funny (when Mineta isn't around), bombastic, and a good time, even if I don't think it's super thematically rich.

I'm not coming at this from the perspective of someone who has never seen any of the merits of Worm, I'm coming at it from the perspective of someone who really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right.

See, this makes me more inclined to think it's bait, actually. since you said "Oh yeah. MHA is published. MHA's been an ongoing publication with a large following for ten years, in a notoriously competitive industry. Now this might seem kind of unimpressive, it's a very low bar to clear I know. But it's one Worm hasn't, so. I dunno, I'd say that's fairly objective. Now you may think "Yeah, but Trash fiction gets published all the time." And that's true but again - Worm hasn't. The worst piece of fiction you can think of got published and Worm didn't. You wanna be an asshole about this? The thing you love is so mid that it was self published in 2013, couldn't get picked up for professional publishing until 2019 and as far as I can see has stayed in development hell since then." in your previous post. Sure, perhaps we can say you were pissed at the time, but "the thing you love is worse than trash fiction, an altogether nothing piece of literature that isn't even worth the paper it would hypothetically be printed on" does not strike me as the words of someone who "really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right." In fact, going back through your other statements on the story, you seem to have genuinely disliked it from the very beginning, on grounds of being too edgy (which I can fully understand the logic of): "IE: it thinks that all it has to do to be smart is be bleak and/or graphic," thematically incoherent: "It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is," and utterly devoid of purpose or meaning. "When it does introduce new lore that new lore is almost always overly convoluted and acts as a catalyst for things happening, but not really things happening that play into a wider theme or message. It's just "Oh and here's this team of god-level serial killers who are gonna string a dude up by his nervous system." Like yeah, cool visual, but what is any of this actually saying?" This does not sound like a ringing endorsement of the first half of Worm to me. In fact, this sounds like you hated every second of it.

"And frankly given the number of comments that are just people saying "Bait" - I don't think any of y'all have engaged with this in a fair or honest way"

I'm going to reiterate on my previous statement. I like my hero academia. Capeshit is my favorite genre, it probably always will be. They're my favorite genre of story. While I find the themes—or lack thereof—extremely frustrating, I still think of it as fun. I gave it a fair shake. I would probably really enjoy the ending if I didn't have a reading list that was 300 books long.

[atopvisenyashill]

any thoughts about how could it be the dynamic between viserys-naerys- daeron ii in fire & blood 2?

okay so straight up the dynamic i’m MOST interested in learning about in f&b2 is the viserys-naerys-daeron ii dynamic. first of all, those first two are just UNGODLY DISTURBINGLY YOUNG when they have children. viserys has naerys, his YOUNGEST child when he is sixteen. naerys has daeron when she is fifteen. viserys is a grandfather before he is 32 years old. it is truly babies raising babies out here!! i mean fuck, daeron has baelor under significantly less traumatic circumstances but he’s still only 17 by the time he starts having kids! that’s all just wildly interesting and disturbing to me. like, that alone, how close in age they all are because they all married & started having kids at crazy young ages, explains so much about why this period has always felt particularly deranged to me (“this period” being post dance where we get this incredible string of deranged freaks from aegon iii to aegon iv that ebbs into this vaguely “we’re having a targ renaissance yay” era that erupts into civil war anyways! i LOVE this conceptually i’m so ready to be annoyed when f&b2 comes out and i’ve hyped this all up for some more dumb sex stories from another court fool ajsjs).

but then secondly, okay, when you look at the timeline- daeron is born in 153 and the birth nearly kills naerys 15/16 year old naerys. aegon iii is still king for four more years. that last year, aegon iv spends his time (and the next two years after that) shacked up with megette. then aegon spends a few years shacked up/probably raping casella vaith the hostage, before running off to war. then he spends more time raping naerys, wherein she has a miscarriage, and aegon is sent away so he doesn’t rape her to death. daeron marries myriah, has a child with her. but before that child is two, in quick succession, his father comes back home & immediately starts raping his mother again, his mother nearly dies having twins & now he has a sister younger than his son, and daena unveils her new bastard who everyone thinks is aegon’s, and baelor is so distraught by all this he fasts himself to death. viserys is king, and likely dead before daeron’s second son is born and before daeron turns twenty. suddenly the person responsible for making sure aegon doesn’t rape naerys to death are daeron & aemon, who have NO authority over aegon. this man has the audacity to stay alive for twelve more years.

that shit is insane. daeron’s father is only around when he’s raping his mom. the closest things daeron has to a father figure are his uncle who wants to fuck his mom, his grandfather who is probably busy constantly (and also only in his thirties 😭), and his batshit insane cousin baelor. his childhood is marked by almost constant instability until it stabilizes for the worse when his cousins all get locked in the maidenvault, then gets thrown into upheaval once again as baelor & viserys die and now his dad who is only around when he’s raping his mom is suddenly back in town and has total control.

and naerys. she’s like if aemma lived long enough to parent her kids, but worse bc you could argue there was fondness of a sort between aemma & viserys. aegon and naerys hate each other. she is constantly pregnant and on death’s door from the age of fifteen (three years older than her father!) until the day she dies, in her early 40s. it sounds like worse than hell to me. it is a lifetime where the only source of comfort you have is the son you birthed at fifteen, because maybe your life is a nightmare but if you raise him to be marginally less evil, he won’t destroy the innocent little girl you know is going to be sent to court to be his wife. everyone else is actively holding you hostage and applauding you for taking the abuse so well. your whole life is screaming for help and all you get is tears telling you you’re so dutiful and brave.

and viserys just. watches it all happen. of course he does! his kids are simply ungrateful! he had to get married at twelve and his wife wasn’t born in westeros so they had nothing in common and at least they have a living father, they have no idea how lucky they are. why should daeron and naerys blame him when he gave them everything because he had nothing? it’s a shame it wasn’t naerys that offed this man. i do think she was his favorite kid tho and i bet he’s not subtle about it at all.

[beck-nightengale]

Alternate ending to the Rhalâta questline:

[winepresswrath]

I'm causally interested in basically all Fallout ship combinations, but I really need Walton Goggins/evil wife. plz make this good for me, show.

[samarecharm]

A lack of a Hold-Up mechanic in strikers means that Zenkichi has never witnessed these kids corner and mug shadows for every little penny theyre worth. I think he would lose his mind. Hes trotting around the metaverse w teenagers that have too much experience holding shadows at gunpoint to get what they want. When did this become his life. Neko shogun throws out a snuff soul as an offering and Akira doesnt remove the gun from its face. ‘You can do better than that.’ What the hell do u mean??? Its a fucking cat! It throws another snuff soul on the ground in fear before Akira decides to finally lower the gun and let the cat run off. At least they arent killing the damn things w their backs turned.

[welcometogrouchland]

im so predictable. time skip huntlow

[ID: a digital drawing of Hunter and Willow from the owl house in their epilogue designs. The image is a redraw of the "girl kissing guy against a fence" meme. Willow holds Hunter up against a wall of vines and kisses him, while he grabs onto the wall behind him. There's a cartoonist "smooch" onomatopoeia written between the two and the background is orange. End ID]

Had to fulfill this request in the most obnoxious way possible. This is what timeskip Huntlow was made for, in my eyes <3

[seafoamification]

just read the first page of the body and I’m gonna throw up

[hopefullystillliving]

You ever get lulled into a false sense of security during the first two thirds of a kid's movie that's good with a serious plot but mostly a pretty fun time, only to have the entire final third tear your heart out, chew it up and spit it out, crush it into even finer paste beneath its heel, and add the fine powder your ribs have been turned into by the sledgehammer it whammed you with as a seasoning?

Anyway Nimona was great, 10/10 would recommend, I was crying on and off for what probably totaled 20 minutes of tears.