#but the catra images are from

[aprillikesthings]

okay wait hold on

you see it, right????

[kin-the-muffin]

Yall I was rewatching She-Ra and I noticed this

they look like Catra???

and it’s never discussed?????

“oh Adora came through a portal that means there are still First Ones around-“

but what about CATRA

how did SHE get to Etheria?????

[assorted-aesthetics]

said i was going to draw 'just my favorite' catra outfits so u can imagine how quickly that got out of hand. image id under the cut

image id: five sketches of catra. on the far left a very frazzled and tired catra with her season four look, full left sleeve and thigh high boots. next is catra lounging backwards wearing the princess prom outfit (full tux) with a smug look. next is a sat and slumped over catra wearing the leather jacket from the crimson waste arc looking defeated. next is season five catra with short hair after returning to etheria. she is standing, looking off to the left with a smile on her face. on the far right is the future catra from adora's vision, with a ponytail, tall boots, and a formal jacket hanging off of her shoulder. she is once again looking smug. the top and bottom images are identical, only the top is colored and the bottom is the lineart version.

[linkspooky]

TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

[thesapphicsoldier]

Happy lesbian visibility week!!

To celebrate, here are some of my favorite (well most of them) lesbian characters! Ignore how many cartoons there are

Image description: a collection of photos of canonical lesbian characters. First is Robin Buckley from stranger things, crossing her arms. Second is Amity Blight from the owl house, holding the rebus. Third is Tara Jones from heartstopper, smiling big. Fourth is Darcy from heartstopper, smiling at lunch. Fifth is pearl from Steven universe, holding a guitar. Sixth is Vi from Arcane, bringing up her hoodie. Seventh is Caitlyn from arcane, looking smug. Eighth is Adora from the shera reboot, smiling and blushing. Ninth is Catra from the shera reboot, looking angry as she drags the sword against the wall. Tenth is Scorpia from the shera reboot, smiling nervously. End description.

[thestargayzingetherian]

Angella's Not Dead! - A Ramble

Okay, so lately I've seen a weird trend of people misremembering SPOP and thinking Angella is dead. Like, on those panels Nate, Aimee, Karen and AJ did a while ago or PrincessWeekes's recent essay where she mentions Catra.

Like I'm not calling anyone out here, like I get most people don't rewatch or think about She-Ra as much as I do so they just forget but like it is something I couldn't help but notice. Because like… yeah losing Angella is played like a character death… but she's not dead! Angella is trapped between dimensions, she's still alive in some way. Heck, I remeber Nate saying at some point that if the finale was a bit longer, like three parts instead of two, they'd have probably brought Angella back there. (My theory on that one is that the release of energy from the Heart of Etheria would have caused a tear between dimensions to bring Angie back) But yeah it's just… something odd that I've noticed lately the last few months because no, Catra didn't kill Angella because Angella's not even dead. HELL, Catra doesn't actually kill anyone in the show (though it would have been hot if she did).

That all being said, it gave me this funny mental image.

Angella: "STOP TELLING EVERYONE I'M DEAD!"

Micah: "Some days I can still hear her voice."

Alternatively, it works equally well the other way around xD

[spop-romanticizes-abuse]

connie vs catra: falling in love with a hero

so one thing in SPOP that reminded me of SU is when Catra gets upset and angry at Adora for needing to sacrifice herself in order to save the world. something very similar to this happens in SU where Connie gets upset at Steven for turning himself in to the Diamonds, so that he can prevent everyone else from getting hurt.

and i wanted to compare these two scenarios and talk about why this kind of conflict worked with connverse, but not c//a.

1. Past Relationship And Hypocrisy

Connie and Steven had a healthy relationship prior to this incident. Connie was always supportive of Steven and quite honestly, was one of the very few people who had no expectations for him based on his mother.

the Crystal Gems constantly talked about Rose and knowingly or unknowingly put pressure on Steven to live up to her image. Greg often mentioned Rose too, and while he may not have intended to make Steven feel pressured, that was the outcome.

Connie, on the other hand, saw Steven for who he was - a 14 year old kid who had way too many expectations to live up to. she served as Steven's rock and his connection to human life, letting him goof off and relax like he should. she listened to him when he was feeling troubled, and assured him that she would always be there to support him. Connie made Steven feel loved and understood.

they also made a promise to always fight together after Pearl tries to pressure Connie into sacrificing herself for Steven. Steven is clearly uncomfortable with this and doesn't want Connie to act like his bodyguard and put herself in danger.

so it makes complete sense that Connie felt hurt and betrayed when Steven decided to do exactly that and sacrifice himself to save her and the rest of beach city. it makes sense that Connie was worried sick about Steven after he surrendered himself.

Connie feeling upset about this situation makes sense because she actually cares about Steven. she always has.

meanwhile Catra constantly used Adora's fears and insecurities against her, even when they were on the same side and especially when they were enemies. Catra made Adora feel worthless for existing, she made Adora feel like a failure.

Catra actively and knowingly contributed to Adora's self-sacrificial complex and her habit of putting everyone else's safety above her own. and then she's surprised that Adora wants to sacrifice herself to save the world. wow. who would have thunk it?

Catra has absolutely no right to act like she cares about Adora after all this. and she certainly has no right to get mad at Adora for doing something Catra herself conditioned her to do.

it makes no sense especially because the show acts like the previous seasons never happened. neither Catra nor Adora nor anyone else brings up the fact that Catra was one of the main contributors to Adora's hero complex and her insecurities. the show just glosses over that and acts like Catra being upset about all this is tragic and sympathetic.

2. Expressing Anger In A Healthy Manner

Connie is upset but she communicates her feelings to Steven in a calm manner. she tells him that what he did hurt her feelings. she is obviously angry and upset, but she's also visibly trying to keep it together and not let her anger get the best of her.

i also think that Steven kinda messed up when he replies to Connie's "i'm hurt" with "no you're not". he decided that as long as no one was physically hurt, there was no problem. he didn't stop to think about how this might have affected Connie emotionally. (i'm not hating on Steven btw, he was in a pretty tough situation himself and was just happy that everyone was safe and alive. this is a situation where both of them were in the right and it was just a complicated issue to navigate.)

basically, Connie deals with this situation more maturely than some adults might have. she felt hurt and betrayed, but she didn't use that as an excuse to hurt Steven. she said what she wanted to say and then she left to give her mind some clarity.

also she does this AFTER Steven returns home safely.

Catra, on the other hand?

she screams at Adora, accuses Adora of picking favorites and pushes her to the ground. Catra is supposedly in her 20s at this point, and she still hasn't learned to express her anger in a healthy manner. she says once that she was working on her anger issues and that's it. we never see her try, we never see any improvement.

and then Catra just abandons Adora because “she couldn't bear to watch Adora sacrifice herself”. Catra didn't just leave because she needed some time to cool off, she was basically willing to abandon Adora and let her die.

3. Clear Motives

Connie's feelings and motives are clear from the get-go. she was worried about Steven putting himself in danger, and she was angry and upset that he broke their promise and her trust.

Catra though?

first she's mad that Shadow Weaver called her a distraction. then she's concerned about Adora's choice to sacrifice herself. and finally, she's upset that Adora doesn't like her in a romantic way.

two of these were very self-centered motives. it's hard to believe that Catra was just concerned about Adora's safety when she's whining about how Adora chose Shadow Weaver over her, as if this was some kind of competition. and it just comes off as the writers shoving in as many reasons as possible for the viewers to sympathize with Catra, rather than writing an organic conflict.

in conclusion, if you want to write a relationship involving a self-sacrificial hero, do it like Steven Universe did. make it make sense instead of shoving in hypocritical conflict.

[antispopausandstuff]

i cannot stand that Nate made it so Adora suddenly realized she was gay when Catra was about to kiss her.

if you don't know what i'm talking about, on Twitter, someone asked Nate what Adora was thinking before the kiss happened and he replied with a GIF // image ( don't remember which one ) that had the caption "am i gay?" attached.

like, look, it's one thing to have a lesbian character originally believe they like or legitimately like a guy at one point ( Amity from TOH ). in fact, i feel like we need to have more characters like that, since, to this day, so many people in and out of the community think it's black and white when it comes to being queer to any extent.

BUT!

Adora has never had this occurrence. she's never shown interest in guys, fake or otherwise, and no one else in the show seems to have this supposed 'am i gay' realization, ever.

that, and, even if she did think she was straight at one point, you can't honestly tell me she continued to think that when she was openly attracted to THREE WOMEN aside from Catra.

this is just giving shipping material that isn't necessary and adding onto the 'Adora is a dumb lesbian jock' stereotype that the fandom loves to believe is simply canon.

so, if she's attracted to other women, she doesn't know it, but when it's Catra, she suddenly starts asking herself that?

i could maybe understand it if it was because Catra was about to kiss her, meanwhile she didn't have any of that with the other women, but we all know that isn't actually why.

[catras-breakup-song]

yeah sure, i'll tell you something that repeatedly pisses me off to no end:

images shamelessly stolen from here

when catra haters say this type of dialogue is a good example of her "abuse"

it's lighthearted affection, playful bantering! many friends bully each other this way all the time for the laughs; i know i always have and nobody minded!

some people may not like it, and that's fine, you don't have to! but your opinion does not change how the characters canonically feel about it. if adora happily takes it without strife and understands the intention in the moment, then there is no issue. you could argue that she calls herself an idiot the episode after she rescues catra from prime's ship, but i genuinely believe that's just a result of her being too harsh toward herself all the time anyway without any influence from catra. even when she didn't have to worry about her as an enemy throughout her average days in bright moon, she still kept that weight burdened on her shoulders regardless.

such an example of the criticism i'm referring to is someone complaining in this reddit post, albeit not necessarily from an anti since they seem to simply not understand and therefore disapprove based on their own personal feelings about the situation among the replies. there's also this comment, which adds some objective truth to catra's partial-insult.

as another individual pointed out, throughout the first seasons it came from more of a "duh! how do you not get it?" condescending attitude (think of adora's final revelation in 01x02 that the horde was evil while catra had known her whole life, and later on in 03x03 when catra points out how silly it sounds to admit you'd listen blindly to anything an old hologram has to say ─ even if it did happen to be correct), but i also added that when it comes to season five it originates more from a place of concern, hence upholding her half of the promise for the two of them to look out for each other at all times. if adora lacks so much awareness, she'll constantly end up in dangerous situations, and that's exactly what eventually ended up happening when she followed shadow weaver's manipulated guidance to accept the failsafe.

it drains so much energy from me to give this bad-faith argument any attention so hopefully i'll only have to do it this once. it's not worth getting frustrated over so don't waste your time trying to convince reactionaries that this trait of all things is what makes her such a terrible person.

[ardraws]

happily ever after

a redraw of a 2020 art piece

[Image description: Adora and Catra from She Ra and the Princesses of Power. Adora is dressed in her future prom dress and cape, and is lifting Catra, also dressed for the future prom, in a tight hug. they are backlit and laughing together.]

bonus:

[Image description: a sketch of Adora suplexing Catra]

[theshipwars]

[Image Description: A competition banner showing Caleb Widowgast and Essek Thelyss, from the Campaign Two: The Mighty Nein of Critical Role, versus Catra and Adora, from the animated series She-Ra and the Princesses of Power. End ID.]

[aprillikesthings]

We've decided to do a "hear me out" cake for Daci's birthday next week

Everyone was pointing out that I cannot use a dozen different images of Catra

I pointed out that I only really need two (maybe three)

Anyway also I am also including Mt. St. Helens, and the opening page of sheet music for the Rite of Spring

because yes I would fuck those opening bassoon notes. specifically from this recording. if you care.

hell I'd fuck the whole thing, lbh

[ghost-in-the-hella]

For the Catober Day 9 prompt: "Sport Cat"

Image description: Digital drawing of Catra from SPoP as a soccer player, running down the ball. Her uniform is inspired by her Horde uniform. She has her short haircut from late in the series.

You can watch the making of this fanart here:

[birindale]

Hi I just wanted to double check something I am pretty sure I read on this blog. Is the origin of C'yra of D'riluth iii from the original cannon or was it a later addition? Also what does "of D'riluth iii" actually mean? I remember there being some vagueness to what it means

Okay there's a long version and a short version of this story.

Short version: It was a later addition. In 2008 Mattel launched a toy line called Masters of the Universe Classics, which could only be ordered through their website and was aimed at the collector market. One of the things they did was include "character bios" in a sort of homage to the G.I. Joe toys of the 80s, which featured 'personnel files' that gave specializations and a brief character history, including their real names (e.g. Duke was actually named Conrad S. Hauser).

Catra's figure was released in 2011 for about $65 USD. Her bio (which I've lifted from a Poe Ghostal review) is as follows:

We (I, and my friends whom I've pestered for opinions) are pretty sure D'Riluth III is the name of her planet, even though another planet in the same solar system (from the New Adventures of He-Man in the 90s) has the Arabic numeral 7, so including Roman numerals is a strange choice.

Long version: There was a fellow working for Mattel at the time named Scott "Toyguru" Neitlich, and he was (and remains to this day) exceptionally bad at things like 'writing' and 'creativity'. He was never very interested in She-Ra, though he loves to tell the story of stealing his sister's doll one year, so to him Catra is simply an agent of the Horde... which, in order to adhere to the 2002-2003 tv show, was now 5,000 years old. This bio directly contradicts the Filmation canon of Catra's mask having belonged to the Magicat queen, for instance, and introduces a number of confusing details.

One of the least popular was Adora being Hordak's "step-daughter" instead of his "adopted daughter", which was already kind of a gray area since he didn't exactly raise her. Scott digging in his heels on the matter was actually how I learned he'd written the thing in the first place:

Now you may be wondering, jeez, it's pretty confusing and the writing isn't great but aren't you being kind of harsh? Surely the push-back from the He-Fans was bad enough. Well give me a minute, dang. This is the long version!

I reached out to him about a year and half ago to ask 1. How it's pronounced, 2. If he could confirm that D'Riluth III is the planet, and 3. If he remembered how he came up with it. He told me the following:

Some backstory here--Scott runs a bit of a one-man content farm, in an effort to avoid paying hosting fees for advertisements or actually engaging in SEO. He is a marketing consultant.

He used to upload a 5-10 minute video every day, but shortly after I contacted him that dropped to only five a week, and his weekly "Director's Commentary" videos about MOTUC figures that he worked on (largely just explaining who the character even is in an unedited stream of consciousness, as his videos became slideshows of google images) moved to bi-weekly.

I was like, okay, he left Mattel in 2014 right? So surely once he's through that year he'll get to this new series.

Nope! He's doing 2015 too! So I reached out again in January, just to like. See if he was still intending to cover the 'real names', which imo should have been part of his commentary to begin with, but...

He had forgotten <3 I explained no, I was asking about these specific questions that I had outlined in my first email (I had replied to his last message in the chain for simplicity's sake), and he just said he'd be doing it soon. So I was like oh, cool, do you know if you'll be doing one a week still? since that would put a Catra video about 4 years out as he does them in release order, and he then promised he'd get to it soon and didn't answer the question.

Annoying, certainly, but whatever. Unless one of us dies horribly I can wait it out, right?

WRONG.

Scott, being an idiot, has not credited a single one of the images he lifted from google over his four years of mostly-daily slideshows. And recently, somebody fucking noticed!

So this guy--Ethan Wilson, a very talented toy photographer and reviewer--was informed that Scott (in his capacity as Spector Creative, the name of his YouTube channel/consulting business) had been using his pictures in videos. Actually, let me use Ethan's own words here:

I decided to dig a little deeper into Spector’s channel, and found 81 instances of my photos being used in 68 of the channels videos.  None of these featured credit to me for use of the photos, and 48 of the 81 instances removed or obstructed my watermarks.

-About This Spector Creative Thing

I very strongly encourage you to read through this linked post, as it gets worse! Somehow!!

Scott, not noticing these as they came in over the course of 10 days, logged in to discover his channel had been taken down. He emailed Ethan in something of a panic to ask that Ethan reverse the claims as a 'professional favor', as Scott got all his clients through his channel's "advertising".

Now you're never gonna believe this... but when he and Ethan came to an understanding, suddenly Scott didn't give a shit.

He released a libelous video claiming Ethan had no rights to the images (he does) and that Scott could use them all he wanted because of Fair Use (he can't) and emailed Ethan the following.

First of all: this is bullshit. Copyright is automatic in the US, trademark wouldn't apply regardless, and as Scott should fucking know by now Ethan doesn't have a 'channel', he has a blog.

Second, he shot himself in the foot with the Fair Use defense by outright stating that his channel is his exclusive advertisement for his business and that he depends on his content to make a living. He said in his first video that it was "educational" 🙄

So Ethan realized Scott was a Fucking Liar and decided he should just copyright claim the rest of Scott's shit, in order to protect his images and rights thereto. YouTube can't take the channel down again unless Ethan is willing to pursue legal action--which he isn't, because he has a full time job and two kids and even though he'd probably win, it's a lot of time and energy.

I and a few others were trying to convince him that it would be worth it anyway, and looking into identifying and contacting the other artists Scott's stolen from over the years, when... Scott released a book. His first-ever graphic novel [looks into the camera like i'm on the office]

drawn entirely by AI.

So we have a frankenstein's monster of copyright infringement masquerading as illustrations (with all the uncanny valley that implies), Scott's technically and practically terrible writing, and the plot is Greek mythology. There are four and a half typos just in the free sample, and that's not including the words in images like his map or logo. He claims the title is a registered trademark but it certainly isn't registered in his state, or federally, and it's already in use by several other brands, so I wouldn't believe him even if he hadn't demonstrated a lack of understanding of copyright & trademark as recently as last week.

So I'm kinda fucking done waiting for answers! I can't trust a thing out of this guy's mouth! And he's pretty stupid, so do I even care what he thinks? I have decided that no. No I do not. I'll check back in 2028 and if he's survived + actually followed through then maybe I'll give his video a watch but until then it is simply pissing me off to remember this guy exists.

Sorry this turned into a rant I'm just really starting to loathe the guy. It's been an infuriating week or two. But uh... No, it's only canon to this one action figure line that ran for a little over a decade. We're certainly not beholden to it, it's more of a fun little in-joke for the fandom these days. You see someone use C'yra and you're like haha I know her! It's fun :3 Regardless of Scott's bullshit I enjoy seeing it around, and it's not like he owns or benefits from it in any way when maybe 1% of the people using it know where it comes from (and the people who know it was him specifically may be limited to the followers that have watched me complain about it).

Thank you for asking, I really do love asks even if the answer isn't what I want it to be lol. I'm happy to verify or explain anything I can!

[probably-obsessed]

Remembered this show i used to watch religiously and had to draw Catra, tho i haven’t watched she-ra in ages

Image 1 is just an outline with her face scribbled out in black, Image 2 is the full drawing

Gotta get better at backgrounds lol

(AGH FORGOT TO MENTION - pose is by mellon_soup on pinterest! they have literally AMAZING poses i use the anatomy from them!)

[manic-sapphic]

here it comes.. another spop rant on moments i see as mirrored~

~~very sorry but i bet most of you know what to expect from me by now.. i can't stop the spop thoughts. and tbh, i don't wanna lolol <3

**ok adding this note here after typing out what was meant (as usual ofc) to be a rant, sure, but not to the extent of the length it became (they just grow up so fast; such proud, so shame) so if anyone just wants the main idea i managed to succinctly make clear at the very end of all this wordy rambling across various tangents tryna make the same fckin points lmao, just scroll on down lol :)

so a mirror actually reflects reality, except flipped on its vertical axis, right? so the reflection is the same image, but if you look hard enough, you realize it's really an inversion of the original.

that's kinda how i feel about what adora says to catra in the sword pt 2 vs save the cat --

- when adora takes catra's hand after already plainly stating that she's "not going home" and says to her, "come with me, you don't have to go back there..." -

- this is all happening after adora tried to sneak out in the middle of the night w/o even telling catra, who only found out cause she happened to either be awake or wake up when she left~

- and upon catching up w adora and hearing her intentions, catra immediately is like "ok cool, let's go," even sounds kinda stoked on the idea- unsurprising since she fckin hates being in the fright zone. but adora quickly shuts it down, cause she "doesn't want her getting in trouble on my (adora's) behalf"

- but then pivots to asking her to just "cover for her till she gets back," saying she'll be back before anyone knows she's gone. and tbh, the way catra's jaw kinda drops slightly as she watches adora run off, ignoring her whispered calls after her, breaks my fucking heart. you can tell she's legit terrified at the idea of being left there in the fright zone w/o adora, even if it's just for a night.

~~(and tbh, adora ignoring catra's hushed calls after her as she runs off is way too similar for me to s5 when catra, invisible w melog but def still within earshot, ignores adora when she cries out her name at the end of failsafe [and every time i hear it, i can't help imagining how much it must've broke catra in half to keep going after she hears adora do that] 💔 my heart can't handle this shit fuuuu)~~

- and then adora doesn't come back the next day. catra had no clue where she was, but still must've thought that if she hadn't come back yet, there had to be a good reason for it - and she tries to refuse shadow weaver's command for her to find adora and bring her back - only to, once again, be abused by sw's magic and threatened if she doesn't comply (so much for not "getting in trouble on my [adora's] behalf")

- so she sets off w a team of soldiers to where sw already knows she is, finds adora, and assumes from the situation that she was taken prisoner by rebels. only to have adora tell her she's found out the horde is evil (which catra justifiably said "duh" to, and was prob pretty hurt to hear adora only figured out after spending a day or two w some rebels; total strangers to catra and adora atm vs the majority of her life spent as catra's best friend; i get the feeling catra thought her and adora were on the same page about that already, since adora had been the sole witness to the worst ways catra herself was treated in the horde since their childhood. [we don't know that yet, but once you do, hindsight's 20/20 bb] )

- so when adora says to her, "come with me, you don't have to go back there -" i can understand how to catra, that must have felt like an afterthought. an offer adora was only extending cause catra had sought her out and found adora herself - rendering it impossible for catra to ever know for sure or not if adora would have come back to try n get her to go w her if she hadn't been forced to find adora in the first place.

- and once we learn later in the season just how close these two were and for how long - and, especially, that the source of the exact words catra says to adora in s1e2 - "because, it doesn't matter what they do, the two of us look out for each other" was adora herself to catra as kids when the promise was first made - well. looking back at that episode and the near instantaneous fission that occurred between them - i would think it would become easier to see how that might happen from catra's pov.

- particularly after she's attacked by adora's new rebel companions and ends up watching some intensely powerful, previously unseen princess decimate their entire squadron - before turning back into adora. who she had just had that whole conversation w only minutes ago. and adora never once bothered to mention the discovery of this new truth about herself to her lifelong best friend. catra just had to watch it happen.

--- OKAY so, i know i ranted toooo much already about that first bit, so i'll try n keep what i see as the reflection of this experience brief as i can (i'ma be so bad at it tho; bet) ---

- in save the cat, adora chooses to go back for catra in spite of what a huge risk it is for her, for everyone who's willing to sneak onto prime's ship w her, and by extension, the rest of the rebellion/etheria/aaannd possibly the entire universe if they fuck it up and can't get back out

*(not-so-quick aside i just gotta make tho to give props af to glimmer for being down for this btw; she's the only one who knows what even just being in prime's presence can feel like; she just barely escaped his clutches but is willing to go right back for catra after what that bitch did for her; she's even willing to be the one who has to walk the ship alone, [i mean tbh, somebody had to babysit entrapta lolol] attempting to find her way back to the holding cells where she was so recently held herself, tryna find catra- so i just gotta give a lil 👏🏼👏🏼👏🏼 for glimmer y'all)

- but ofc, prime had a nice lil surprise for adora up his sleeve, and brings out chipped catra. forcing them to fight, and very quickly taking the opportunity to let adora know - he doesn't gaf how much catra gets hurt in this fight. and catra can't gaf, no matter how much pain she's being forced to cause herself.

- from the instance early on when adora manages to get catra in a hold that renders her unable to really move much - adora says what, if you ask me, might've made all the difference in the beginning if she'd thought to say it this way:

"i am not leaving without you."

- then catra strains against her hold for another second or two before her head kinda falls and her ears droop (tbh, i always get the sense there's a tiny bit of the real catra reacting to adora saying that to her in those physical responses- just due to their history)

- but then the arm twist. omfg dude - it kinda seems like she was straight up forced by prime to dislocate her shoulder just to get out of the hold - which would explain how horrified adora is when it happens - cause not a single sound or indicator of the pain felt ever escapes catra. even as she goes on fighting, despite the fact that attempting even the slightest motion w an arm that's been dislocated is known to be extremely painful.

...fuck well - true to form, i set out to try n be somewhat brief & succinct; i rlly hoped to keep my thoughts at a somewhat endurable level lol. i should prob stop thinking i'm even capable of it at this point lmao; i just can't stfu lolol rants are my way. sorry bout that fr <3

~~but i did cover my main point, hidden above in all the garble and ramble and twists and turns of my train of thought -

---there's a big difference between:

- hearing "come with me" and not only perceiving it as a slight & an afterthought; but also feeling totally robbed of hope for any kind of confidence that they ever would have come back for you in the first place-

- and having someone be willing to throw caution to the wind cause they want to literally come back for you and tell you they're not leaving without you.

<3