#but to me the metaphor is what holds the story together.

[rearranging-deck-chairs]

#but also it turned out#agatha and rio DID have a cottage together#something must have driven agatha from the cottage#to have her running#and not having a home with nicky#which could have helped his health more

yeah because i think because the tragedy is also that she loves death. nicky isnt doomed in some magical way, made of death so unable to live. or maybe also that, who knows, but i think nicky is doomed first and foremost bc agatha loves death.

i think she must have been on the run because she made it that way. bc she antagonised people into coming after her. bc she killed a coven or a dozen. bc she killed magically or mundanely. agatha isnt trying to build a healthy life, for her or him. agatha isnt trying to be Better in any way you want to define that. she wont let herself grow beyond the trauma that has defined her up to that point. and after nickys death she wont let herself grow beyond that trauma either. shes knowingly destructive and she isnt trying to change that.

if agatha is desolate and without community it's because she has made it that way. directly or indirectly, on purpose or bc she was forced, those things kinda blur together. at the end of the day she let it be that way. nicky lived and died because agatha loves death.

She is my scar.

[legionofpotatoes]

can't believe I just spent three hours watching a movie about masculine anxiety in the nuclear family model, told through cartoon alien tribes wearing Mãori tattoos

[cinnamorollcrybaby]

i am living for some angst 👀

especially some satoru angst

Hold me. Console me.

Tags: Satoru x fem!Reader, angst, hurt/comfort, depictions of poor mental health, depiction of a panic attack, Satoru’s a little bit of an asshole here.

An: Same… same. Before you read this and blame me for how fucked this story is, know that one of my moots (cough. cough. @theuniversesnepobaby cough.) was sending me sad angsty edits last night. this is partially her fault too.

Satoru was normally a very doting and attentive boyfriend. He’s the type to beg to be in your presence. He’d kill to feel your touch against his skin. “Casual” isn’t a word in his dictionary. When he loves, he loves loudly.

So when he got quiet with his love, your body started to fill with a sense of dread. Cold and bitter feelings crawled their way between you two. No longer did you two laugh until you were out of breath and red in the face. No longer did he surprise you with gifts or try to scare you when you’re unaware of his presence.

His strong arms hadn’t wrapped around you in so long. The ruthless chill of being utterly alone plagued you, while Satoru seemed fine. He was even taking on extra hours at his job. So many nights he didn’t come back until nearly midnight.

How could he not see what’s happening? How could he not notice how much you’re drowning?

“I’m going out.” His words are flat with no care put into them. He’s telling you because he feels as if it’s obligatory — not because he doesn’t want you to worry.

“Where are you going?” So many times have you tried to reach out. It was as if you two were passing back and forth a candle of your relationship. You had ignited the flame and passed it to him so many times, but each time, he snuffs it out without a second thought — leaving you in the dark. Maybe one more time, you metaphorically light the candle in hopes to kinder your relationship…

“Out.” Flame snuffed.

“Oh.” He’s done it so many times, but it hurts just as bad each and every time. Being single wouldn’t hurt this bad. At least you wouldn’t be getting rejected by your own boyfriend on a daily basis.

“See ya.” He doesn’t even give you a second glance as he grabs his coat and saunters out the door. Another night spent alone. Another night filled with a barely eaten tv dinner and a shitty reality tv show droning on in the back while you doomscroll on your phone.

You two use to watch these reality tv shows together and laugh at the ridiculousness of it all. Satoru would hold you so close to his body, and he’d whine anytime you tried to adjust. When was the last time that happened? You never suspected the end of affectionate gestures would come while you two were still in a relationship.

You check Geto’s story on instagram. Sometimes, you’d catch small glimpses of Satoru in the back. Sometimes they were at a cafe or an arcade together. Tonight, it seemed as though Suguru was at very packed party scene.

You hold your breath in your lungs as you rewatch the story again and again — searching for a white head of hair. Your boyfriend makes it too easy for you to stalk him. Though, it feels like a fitting punishment for the turmoil he’s put you through.

No Satoru in sight. You sigh quietly before you check Shoko’s story. It was less likely that Satoru would be captured there, but he has made his appearances in the past. It seemed like tonight Shoko wasn’t present at whatever rager Suguru was at. She posted a picture of her beautifully written notes. She must be studying.

Nanami never posts on his story, so you don’t even bother going to check his barren profile. Haibara never features Satoru in his stories, so you skip his as well. This leaves you with one last option.

Your hand is a little shaky as you click on Utahime’s story. You don’t know when it started, but your cheeks and ears were wet with tears already. Your body had some sort of sick sixth sense for knowing when something was wrong, and something was terribly wrong.

You had always had your little insecurities about Utahime ever since Satoru indulged that he had a small crush on her back in high school. Of course, these were just fleeting thoughts. Up until recently, you knew with full confidence that you had Satoru’s heart. He wouldn’t stray from you. 

You didn’t have that same confidence anymore. Satoru had withdrawn, and it seemed as if he took his heart with him.

You hate being right. You wish you were wrong sometimes. On Utahime’s story, she’s seemingly at the same party that Suguru’s at. Her story is littered with pictures of her with other girls that you don’t recognize, videos of the loud music and people dancing in a crowd, and there’s just one last video on her story that makes your heart sink to your stomach.

Your boyfriend’s pretty blue eyes illuminated by the flash from her back camera. He smiled and laughed as Utahime filmed him. His face was littered with wine red lipstick kiss marks. Utahime had a grab on your boyfriend’s collar, obviously trying to hold his drunk self still while she filmed his crime.

It felt like a punch straight to your gut. You couldn’t even think straight, but you knew you needed to keep this evidence in case she deletes it. Your fingers shakily screenshot the story, logging the picture of Satoru covered in someone else’s affections.

He was out there feeling an overwhelming sense of happiness, receiving kisses from another, dancing to his heart’s content, and enjoying his life while you were sat at home weeping over the loss of your boyfriend.

The tv dinner, now cold and stale, was thrown into the garbage, and whatever little bit you had eaten came up soon after.

The picture was seared into your memory. You didn’t have to look at it to know every minor detail. The way his white hair was messy. His glasses were pulled down ever so slightly to reveal his devastatingly beautiful eyes. His coat hung on his shoulders while his muscular neck peaked out from his shirt.

Every time you closed your eyes, you thought about how many kiss marks he had on his face. How many times had he allowed himself to cheat on you? Was this the first time? Had it gone farther than this? Was it Utahime or some other girl?

You cried yourself to sleep, knowing that Satoru wouldn’t even come home to try to console you.

The next morning, you were disappointed as soon as you woke up. You wished sleep would’ve taken your body and whisked it away far, far from here. Instead, you’re still in your bed, sleeping on a pillow that was stained from your mascara.

If you could, you’d rot in bed all day and try to forget the godforsaken video you saw last night, but you had to make a trip to the restroom.

Forcing your weak body out of bed, you let out a small pained moan. You haven’t eaten a proper meal in so long, and you threw up whatever you did eat yesterday. Your appetite was completely diminished. Satoru use to say that food tasted better when it was shared. He always shared his meals with you, unbeknownst to him, helping you maintain a good schedule for eating.

Your apartment was too bright when you stepped out of the bathroom, and it smelled too much of food. The sizzling on the stove finally caught your drowsy attention.

The man of the hour, Satoru, was at your stove, shirtless and cooking something. Sleeping pants casually hung around his hips, and the dimples at the bottom of his back were so graciously being shown off. Did someone else know about those two little dimples? Even though back was facing you, you could already picture his face, littered with those stupid kiss marks.

Making a b-line for the bathroom, Satoru doesn’t even get the chance to greet you. Your hands were cold and clammy as your body uncontrollably heaved over the toilet. You had nothing left to give, but Satoru was taking everything from you.

Hot tears burned your cheeks as they slipped down your face. You didn’t want to do this. You wished you would’ve never saw that fucking video last night. You should’ve given yourself plausible deniability, but now, you had to face the music.

You slowly returned back to the kitchen after trying your best to clean yourself up. Your eyes focused on Satoru. He was finishing up cooking bacon when his eyes finally met yours and drove daggers through your heart.

“Good morning, sweetness. Something wrong?” He asks with so much care in his tone. You fantasize about hitting him — just once. How dare he suddenly care when you have to check out?

You don’t even know what to say to him. Like, yes, something is clearly fucking wrong, Satoru. I’m dating an unfaithful jerk.

“What are you doing here?” You ask bluntly, wiping your face of the remnants of tears and makeup that had stained your skin. He shouldn’t be allowed to see how badly he hurt you.

“I… live here?” He responds in a questioning tone, furrowing his white eyebrows as he studies your face. “Are you okay?” If only he had asked that question weeks ago, then maybe you two wouldn’t be in this mess today.

“No, and you don’t live here anymore.” You snap, causing him to slightly flinch back — not out of fear but out of surprise. He’s never seen you like this before.

“What do you mean, sweetness? I-“

“Cut the shit, Gojo. Don’t act stupid with me. It’s unbecoming.” You interrupt him completely, not wanting to hear him try to act innocent when you have all the proof you need on your phone.

“Woah. I don’t know what’s wrong, but I don’t really appreciate the insult and the use of my government name. I genuinely have no idea of what you’re talking about.” His voice is firm, laced with sternness, so you can see that he’s not playing around with you.

You take a deep breath until your lungs burn. You want to scream at him, chase him out of the house, and light his shit on fire. Instead, you silently go to retrieve your phone. Pulling up the picture of him with kiss marks all over his face, you shove the screen in his direction.

Gojo takes a few seconds to take in the photo, and he lets his shoulders drop. “This is what you’re mad over, sweetness?” He asks in a much more calm tone, looking up at you with almost puppy dog eyes.

“Don’t call me that.” You snap while swiping your phone back from his hands. “I didn’t think I’d have to spell it out for you, but we’re fucking done.”

“You seriously believe that I would cheat on you?” He asks in that stupid arrogant tone of his, completely ignoring your blunt rejection.

“Why else would your high school crush post a picture of you with kiss marks all over your face!? You look so fucking dumb and in love. I fucking-“ Your throat chokes up as if your body was trying to stop you from saying something you didn’t mean. The words “I fucking hate you” die right there on your lips. Tears fall down your cheeks, and you place your palms over your eyes to hide yourself from his impregnable gaze.

“This, again?” He asks in a frustrated tone before letting out an exasperated sigh, He turns the stove off - abandoning his food before walking over to you. He bends his knees a bit to get on your level. “Look at me.” He demands before his hands go to pull yours away from your eyes.

“Don’t fucking touch me.” You cry out, jerking back away from his presence. Your breath speeds up. The oxygen isn’t having enough time to enter your bloodstream. Your body is vibrating, forcing the air quickly from your lungs. Everything is moving so fast and why the fuck is he so close to you-? He’s suffocating. Fuck, catch your breath. Whyhim?Whyyou?Why?Why?Whatdidyoudotodeservethis???

A gush of air is blown harshly onto your face, and you can feel the bitter cold feeling of something touching your skin. Your eyes see Satoru’s hand holding an ice cube, guiding it along your warm skin on your arm. Your body is so hot that it’s melting faster than he’s moving it.

“Breathe. Match my movements.” Satoru guides in a calm yet steady tone. Your eyes find the way his chest is slowly rising and falling with each breath. You want to tell him to go play in traffic. You don’t need him to ground you. You don’t need him to do anything for you. You don’t need him.

Still, your body matches his slowly. Your breath becomes more stable, and you can feel your heart starting to settle into a more natural rhythm. Your bleary eyes meet his empathetic ones. It’s been so long since your last panic attack, but he remembers just how to calm you down.

It only makes it all hurt so much worse.

“It’s almost over. You’re doing a good job.” He takes his chances at encouraging you. It feels so sickening, more tears flee your eyes. Where had your boyfriend been, and why is he only just now back after he did the unthinkable?

“Sing with me.” It’s an odd request, but it’s something he found that grounds you better than most grounding techniques. Saying repeatable phrases in melodic tone is comforting for your mind.

“No.”

“Come on… Just one time. Your favorite.” He tries again. Metaphorically, lighting the candle and passing it back to you.

You shake your head in response. Flame snuffed. How can you sing with him after what he did to you?

“Come on, don't leave me it can't be that easy, babe” He starts with such a soft angelic voice. You fold in on yourself unable to keep the sob from escaping your throat. What method of torture is this??

“If you believe me I guess I'll get on a plane. Fly to your city excited to see your face.” He continues, lighting that same candle. It’s so small, barely there anymore from how many times you two have tried to relight it.

“Hold me, console me and then I leave without a trace.” The ice cube has completely melted, and his hand is resting on your arm. He slowly guides you to his chest, and you indulge in his warm embrace for just one last time.

“Come on, don't leave me it can't be that easy, babe.” His chin rests on top of your head. You’ve always fit so well in his arms. He’d always tell you that whatever higher power is out there made you specifically with him in mind.

“If you believe me I guess I'll get on a plane. Fly to your city excited to see your face.” His skin is so warm against yours, and your tears are sticking to your chest.

“Hold me, console me and then I leave without a trace.” You finally indulge him, softly joining in on his singing. His body slowly starts to guide you two into a soft subtle sway.

“Come on, don't leave me it can't be that easy, babe.” It’s not that easy. This fucking hurts so bad. Why would your soulmate do this to you?

“If you believe me I guess I'll get on a plane. Fly to your city excited to see your face.” You feel so pathetic — seeking out comfort from the one who hurt you this bad. If your friend could see you right now, she’d slap some sense into you.

“Hold me, console me and then I leave without a trace.”

You’re sniffling softly into his chest, and his hand carefully pets your hair. “Those kiss marks weren’t from Utahime.” He explains in a soft tone. “We were filming a TikTok. The punchline of the joke was that Suguru and Haibara were the ones who kissed all over my face.”

You look up at him with an unsure look on your face, not understanding what he meant. Satoru carefully picks your phone up, and he clicks on Haibara’s Instagram story from last night.

Sure enough, Haibara posted a TikTok of him, Suguru, Satoru, and Utahime. The camera points at Satoru, showing the kiss marks on his face, and the sound plays. “Bro, what happened to your face? Did you do that?” The camera then pans to Utahime to which she mouths the words, “I did not do that.” The camera then pans to Haibara with smeared wine red lipstick on his lips who says, “Then, who did?” The camera is then panned towards Suguru. He also had wine red lipstick smeared on his lips. “Yeah, who?” The two boys start laughing along with Satoru, and the video cuts.

It only comforts your weary heart slightly.

“It was just a stupid TikTok… I should’ve consulted you or warned you… done anything to respect you.”

“This doesn’t take back how awfully cold you’ve been over the last few weeks…” You sniffle out quietly, and Satoru nods his head knowingly.

“I know, sweetness.. I know. I’ve been terrible.” His arms squeeze you a bit tighter — frightened that he was so close to loosing you, still scared of losing you.

“That’s not an apology… or even a reason.” You try to squirm from his grip, but Satoru holds you tighter.

“I’m so fucking sorry, sweetness.” He breathes out a shaky breath, and you realize the shakiness in his voice. Glancing up at him, you feel yourself clam up with the sight of tears in his eyes. Christ, his eyes are somehow even more blue when he cries. “Shit got crazy at work then-“

“You still had time to party it up with your friends. You left me without even telling me you love me.” You finally break away from his grasp. The cheating accusation was only the surface of the main problem.

“You know I love you…” His voice is small, and he wipes his eyes of the tears that are threatening to spill.

“Do I know that?”

“Don’t… don’t say that.. I love you more than life itself.” His shaky hands go to reach for you again, but you move back away from him.

“You’re only doing this because I’m leaving you. If I hadn’t mentioned it, you’d probably still be half assed ignoring me.” You stare at him, and your eyes start to water for the nth time today.

“That’s not…” Satoru bites his tongue, and he runs a hand through his messy white hair. “I came home this morning… saw the uneaten tv dinner in the trash… Your reality tv show was still playing in the background, and I saw how you fell asleep with your makeup messed up… I realized then how much I neglected you… I planned a full day for us to enjoy each other’s presence… Please, don’t leave me for this. I can fix this.”

“How did it feel to look at me everyday when I tried so fucking hard to reach you?”

“It killed me.” He breathes out, and he tries to reach for you again. “Please, I missed you so much. Work was just so fucking much, and I don’t know why I took that out on you.”

You stare at him, and you shake your head silently. “You should go, Gojo..” Your voice cracked as it physically pained you to tell him to leave. Your body craves him more than anything else in the world right now.

“No, please, princess. Don’t do this… I can fix this. I’ll do whatever it takes… just don’t leave me…” Satoru’s on his knees, literally begging you not to leave him. Tears are falling down his cheeks as he bows his head to you.

It’s humiliating, but he’s so humiliatingly in love with you. He’s so dead serious. He’d do anything for you to stay with him.

“Toru..”

“I’m sorry. I’m so fucking sorry. I-I don’t know why I did it. I just pulled away from you, and I don’t know how it happened. You’re the best damn thing that’s ever happened t-to me. Please. I can’t function without you.”

You stare at your boyfriend with concern as his head literally touches the floor beneath him. You don’t even know what to say to him. The thought of leaving him hurts so fucking bad. It steals the breath from your lungs.

“Please don’t leave me… puh…. please stay with me.” He’s groveling at your feet, unable to stop the tears that escape his eyes. The thought of living in a world where you aren’t his girlfriend… he wouldn’t. He’d be a shell of who he once was. He’s nothing without you.

You slowly sit on the floor in front of him, and your hands stroke his soft hair gently. Satoru’s breath slows as he finally gets a grip on his emotions. He realizes just how pathetic he looks. He slowly leans up, and he looks at you. Both of you looked like complete messes, and it was all his fault.

“I don’t deserve you,” He murmurs quietly. “but please, I can make this better… I love you so much, sweetness… I wouldn’t dream of ever cheating on you.”

“I don’t forgive you.” Your voice is barely a whisper. The metaphorical flame is so small and shaky, but if you two both shield it from the wind, it’ll be able to grow once more. “You have a lot to prove me, Toru.”

“I’ll spend every waking minute of my life fixing this. I promise you, sweets.”

and he did. Satoru went back to loving you loudly. He didn’t merely shield the flame from being blown out, he fanned it himself so it grew in intensity. He was back to doting on you constantly, and he did frequent check-ins to make sure you weren’t feeling neglected. He took frequent vacations from work with you. He usually took you two out on holidays to wherever your heart desired, but sometimes you two would use his vacation time to just lounge around the house and enjoy each other’s presence.

Your confidence slowly returned to you over time. It wasn’t easy by any means. It took many nights of Satoru’s consistent reassurance and overwhelming love and support for you to slowly start feeling comfortable in your relationship with him.

He put in the work, nourished your flame, and he never made you feel guilty for having a second thought because when he loves, he loves deeply. Casual is not his strong suit.

[philip-the-nickel]

Marketing did Elemental DIRTY

Just saw the movie, it was well worth the watch. The trailer made the movie look like some half assed race metaphor Zootopia ripoff with a canned, rehashed love story you've seen a million times.

Let me be clear, Elemental was none of the things the trailer made you believe it was.

First things first, The Romance:

There's a reason aro/ace people are flocking to this movie. The main couple falls in love without having to rely on any passionate kisses or hand holding; they fall for each other based on who they are, their personalities, their interests, their appreciation of the other's uniqueness. The central hand holding comes at a point in the movie well after the two are established as a couple, and have gone on many dates together. This movie makes their characters fall in love over mutual appreciation, not physical chemistry, and its such a genuine, sweet, wholesome romance to see play out

On top of that, this movie goes into a lot of aspects of immigrant life and the expectations that come with being a first born in a new country. The romance does not shy away from this or sweep it under the rug. The romance blossoms as the two learn more about each other, and come to understand and respect those differences.

Second, the movie isn't about romance, its about being an immigrant.

I came into this movie expecting zootopia 2: now with elements, and what I got was a heart-wrenching look into the life of a first generation child in a new land, born to immigrant parents. The movie absolutely does NOT sugar coat things, showing not only an ellis island moment of having your name changed, but also a number of topics ranging from having to navigate in a city made for people who are nothing like you, being denied housing, micro-aggressions, and straight up being denied entry to public places based on who you are.

The true heart of this movie is about the child of immigrants realizing the life she wants for herself, struggling with disappointing people who gave up everything they had so they could give you a better life, repaying that sacrifice and what a burden it feels like, and somehow facing the truth of who and what is staring back at you from the mirror.

Third, and lastly, the movie is absolutely beautiful

The trailers did this movie dirty. You never saw the refracting lights from firelight streaming through water, you didn't see the glassblowing, or how the fire dies down to barely a wisp when Ember is sad to burning like a wildfire when she's angry. You didn't see the scene underwater with the tree and |Spoilers|, you didn't see the world building or the character design that went into the background characters. This movie is absolutely beautiful, and uses light as both a visual treat and a metaphor for the movie's themes. Its absolutely gorgeous.

So, if you're wondering whether to skip this movie or watch it, I'm telling you now: ignore the trailers and go see this in theaters.

[teambyler]

YES Mike eating fruit on pizza was a gay metaphor

I saw a comment saying that Bylers are delusional for finding gay subtext in the "fruit on pizza" scene. We're "overanalyzing" things, they say!

Thing is, that's not the only gay metaphor WITH FOOD that is in Stranger Things. Remember this?

Any LGBT+ person has to react to this the way I did: haha that's a gay joke! "You can't have two of the same thing together"!

And then Robin gave her the jar of jelly, which gave it new meaning:

Vickie was just rambling about her ex-boyfriend and holding 2 slices that were incompatible. But Vickie is compatible with ROBIN. It doesn't matter that she's also a girl, you see! Giving her the jelly and their unspoken shared look and understanding is THE moment they realize their attraction is mutual.

And they made these points about Rovickie with food. (Also see another easter egg where they used food to associate Will with Mike.)

And then Vickie's immediate next line: "I don't know what's wrong with me." She talks about her mouth moving faster than her brain, but the GAY subtext is here also. Something "wrong" about her = being gay = feeling "like a mistake." This is Vickie telling Robin "I'm kind of odd / gay, you know..."

The Stranger Things writers KNOW about gay subtext. So when Mike calls FRUIT (a derogatory term for gay men) on pizza "blasphemous" and comically is made to eat it, AND he says afterward "No, you're right. It's good"? ...

... we're just supposed to IGNORE that????? Just accept it? And if it's not that, then what was the point of the scene?

It is frankly, a pretty BLATANT hint that Mike is QUEER.

And he loves Will. This isn't some unrequited love story -- the writers know the proper way to handle that which is to resolve it quickly... they did that with Dustin's hopes for Max being introduced AND resolved within the space of a season. (Same with Steve liking Robin.) Meanwhile, Will's love for Mike has been built over FOUR seasons, and everything remains unresolved between them, the Painting Lie being one of the most important things. (Will coming out to Mike being the other.)

-teambyler

[sp0o0kylights]

Indie horror filmmaker Eddie Munson, high off his first big (underground but notable) success, knows the movers and shakers of the film world have their eyes on him. 

They're just waiting to see if he was a one hit wonder before they open all the doors he's been trying to kick down. 

His next upcoming film is his chance, his shot at finally making it. Of being like Rob Zombie and the other creators he looks up to that masterfully blended metal and horror. 

This is his golden ticket. 

The project starts off smooth. His last success has greased the wheels, and things fall into place faster than ever before. 

He's got the best idea for this insane haunted house story, a true "mazes in mazes" type of deal with a queer twist. A real look at how a place can haunt a person just as easily as a ghost can.

 Everything's going swimmingly--until one of his leads drops out the day they're due to start shooting.

No call no show's, and later, Eddie will find out the guy got a last second call back to be a contestant on one of those Love Island bullshit romance gigs (and laugh his ass off when the main love interest takes one look at Billy Hargrove and goes on a five minute rant about ugly mullets on national television) but right now? 

He's fucked. 

He's called in every favor he has for this film. Maxed out every credit card he owns, tapped every contact, got on his hands and knees and begged his rising star journalist best bud to help him market it. (Which Nancy agreed too, for way less cash than she should have.) 

 Eddie can't get anyone on the phone, much less find a replacement actor and the amazing place they rented, that is so dark and wonderfully eerie, is booked out the rest of the year as an AirBnB. 

If he doesn't film now, he loses it all.

Cue the other lead, unknown theater actor Steve Harrington, watching his hair pulling, tire kicking, 'cursing and hopping while holding a toe' mental breakdown and asks why Eddie himself doesn't act in it. 

"Just go full Kevin Smith man. Act and direct." He says, with an easy grin. 

Jeff, Eddie's tried and true videographer, trades glances with Gareth and Grant (Eddie's long used special effects and makeup team, who double for about twelve other jobs because they're also his best friends and they're all in this together, make or break.)

"We don't really have a lot of other options." Gareth hedges. "You're already using me and Grant as background characters." 

Eddie, hands fluttering around his face as though trying to wave away this entire situation, squeezes his eyes shut and lets out a pained hiss. 

"Fine, fine!" He announces with the air of a man running towards a fire. "Fuck it, this is our one shot and so help me I will be shooting it!" 

Steve politely hides a laugh with a cough. 

"Chuckle all you want big boy, I'm going to tragically romance you so hard people will forget both of our characters actually live." Eddie snarls.

Steve, the handsome bastard, just winks.  "Looking forward to it." 

Eddie blushes, but hides it with a surge of frantic energy, conveyed by lots of yelling and moving and getting the ball rolling. 

Two days later, Steve would give the performance of a lifetime down on his knees, covered in a literal pound of fake gore, booty shorts and nothing else as he sobbed about how a lover could become a home. His hands clawed at Eddie's jeans before resting a tear stained face on a slim leg as he bent his body towards Eddie like it hurt to be away from him. 

Eddie would later receive equal praise in his own acting during the scene, with the world and every reporter in it asking how he conveyed an otherworldly panic so beautifully throughout Steve's performance. What was he thinking, to evoke those expressions on his face? 

The way his own pale hand, unmarred by blood and acting as a metaphor for the plot, would come to stroke Steve's cheeks.

Eventually he'd come up with a smooth polished answer that cheekily pleased his audience, but nothing would ever come close to the truth. 

("Eddie I've known you since grade school." Jeff said that night, a scant few hours after they'd wrapped. "You can act man, but not like that." 

Eddie made a wild "shut up" gesture, looking frantically over his shoulder before admitting; "You saw how close his face was to the prince of darkness!? I was seconds away from popping a boner next to his lips, in front of the 4K camera!” 

Eddie bounced into Jeff’s face so he could hiss: “He fucking had his chin on my thigh, Jeff, and I am only a man. A mere mortal!" 

"So we're gonna unpack all of that later." Jeff said finally, when he'd managed to get his mouth working and Eddie back out of his personal space. "But dude, we've talked about you calling your dick the prince of darkness." 

Eddie flipped him off.) 

One year later and critics named Corroded the best horror film of the year, praising the camera work, practical effects, and how there wasn't a soul alive who was surprised to hear Eddie and Steve were dating after their explosive on screen chemistry.

No one ever quite understood the prince of darkness jokes or why Steve mentioning it made Eddie blush, but that was a secret to find out later. 

Today on WIP’s I have no intention of writing, indie horror movie AU!

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Tragic Hero

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Now the final part of the monologue in that chapter.

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

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

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

The second monologue is more denial.

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

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

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

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

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

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

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

As Codenamesanzanka says:

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

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

As @class1akids says in this reaction post:

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

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

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

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

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

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

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

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

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

Pro Hero Arc:

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

Hellish Todoroki Family 1:

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

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

Dabi's Dance:

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

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

The Fight Against AFO:

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

When Enji decides to double Suicide with Toya:

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

Hellish Todoroki Family Final:

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

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

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

As observed by Class1akids when we were discussing the update:

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

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

Batman doesn't fight victims. He saves them.

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

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

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

The Tragic Villain

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

Well, let me explain.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hey buddy, you're being selfish.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Themes Are For Eight Graders

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

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

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

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

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

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

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

Like, no.

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

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

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

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

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

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

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

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

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

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

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

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

"I wish you could be here, Toya."

"We all have to go stop, Toya."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EPILOGUE

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

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

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

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

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

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

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

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

You didn't mention Shoto once in this post:

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

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

[vesppperoro]

hii uhh, i had a little idea that id like to share if thats ok, it might be quite triggering tho so be warned ‼️

a sinner demon reader thats based on a teddy bear, because theyre too soft and mushy personality-wise, and they ended up in hell due to being suicidal. like their whole body is covered in stitches thats supposed to be a metaphor for sh scars

do whatever u want with that info, u can even ignore it if u like, have a nice day ❤️

Hazbin Hotel Cast with a Teddy Bear!Sinner Reader

Includes: Charlie, Vaggie, Angel Dust, Husk, Niffty, Sir. Pentious, Cherri Bomb, Alastor.

A/N: this is such an interesting idea! I’m going based on my own experiences as someone like this, along with research. I appreciate you for trusting me with this <3 I definitely WILL make a p2!! Might write for this sinner more tbh I loved writing them!! I thought you meant a child and I wrote that I’m so sorry 😭

Charlie Morningstar

She truly didn’t understand why you were in hell.

You are such a sweetheart! She adores you.

When you showed up to the hotel one day, without clothes and covered in stitches, she was immediately worried.

She took you in and washed you up as best as she could.

You were like a child! Why were you even here?

She was happy that you wanted to be redeemed, however.

She became a mother figure to you.

You go to her when you’re sad and you hug her frequently.

She traces your scars sometimes and you two share a silent moment together.

A silent moment of understanding.

She loves picking you up and holding you!

She hugs you like you’re an actual teddy bear.

She’s the one you go to for emotional things.

She’s good at comforting you. She somehow knows what you wanna hear at all times.

Vaggie

She became a secondary mother figure to you.

She was Charlie’s girlfriend, so of course she was.

She understood your situation and was pissed heaven casted a sweetie like you because of your lowest point.

She’s the more levelheaded one.

She’s the one who gives you advice and stuff like that. While Charlie is the more emotionally supportive one, Vaggie is the more mature and steady one.

She also traces your scars. Even if you don’t like them, she tells you you’re beautiful no matter what.

When you told her more of your story, she almost cried.

A child feeling this way broke her to pieces. Especially since you were so soft.

Other than the sad stuff, she loves cuddling you.

You, her, and Charlie sometimes have cuddle sessions with you in the middle because you’re so warm + soft + squishy.

She would kill anyone for you. You’re just so adorable!

She tries to teach you to fight but gives up when you don’t want to hurt anyone.

Angel Dust

Honestly, he saw himself in you.

A lost, scared, and lonely child. You didn’t know the cruelties of the world, aside from those cruelties in your mind.

He tries his best to comfort you. He’s not the best with words, but he’s always there for you.

He calls you sugar bear! He loves you to death.

He would go to the ends of hell for you.

He treats you like he wished to be when he was the same way.

You two share a lot of similarities, so you bond well.

He nearly cried when you told him your stitches were scars from sh.

He embraces you any time he can.

He tries to be the parental figure he needed so you can have a better life, somewhere no one would judge you.

Husk

He’s stubborn, like a dad. He acts like one too.

A hardheaded, yet sweet dad.

He’s like the father you never had. Or did have. Whichever.

He’s the bartender, so he knew how to comfort.

But when you told him your story, he almost broke.

You two definitely sing some sort of song together. Maybe Angel or Vaggie joins.

He cuddles you and hides you with his wings.

If you give him baby doe eyes, he might just take you on a flight.

Husk is SUPER protective over you. He’s very similar to Vaggie in a way when it comes to protection.

He gives you good advice but he still hides behind his tough guy exterior.

He doesn’t understand why you’re down here, even if you tell him. You’re so sweet!

Either way, he adores you.

He loves patting your head and messing with your fuzzy ears.

Might even boop your nose once or twice.

Late night talks.

He probably talked you down from trying to commit again.

Niffty

Another tiny person! Yay!

You’re not a bad boy. She may be a psycho, but she would never call you bad.

Actually, she did once and felt bad once you cried.

She likes to hang out with you since you’re both tiny!

She cuddles and hugs you like you’re her stuffed animal.

Bug killers! Even if you don’t wanna kill bugs, she’s dragging you along anyways.

She tries to hide her needle from you since Husk told her what your stitches meant.

Alastor has to babysit both of you basically.

You and her do almost everything together! You’re best friends!

She sneaks into the kitchen and grabs you both snacks so you can watch a movie.

She makes you sleep in her bed sometimes so she can cuddle you.

Sir. Pentious

He’s a dad. Or, he was.

He treats you like he wishes he treated his son before he passed.

He acts like your father. An awkward father, but he still tries.

He also protects you.

Expect him to curl his tail around you and cuddle you when you’re sad.

He literally cried when you told him your story.

He tells you anytime he can that it’s not your fault. Your stitches are still beautiful.

Best girl dad ever.

Buys you anything he wants, even if he’s broke. (Except sharp things)

He teaches you some things about inventing!

You made him a little metal flower and he was so overjoyed. He took it with him everywhere.

He still remembers you, even if he’s in Heaven now.

Cherri Bomb

Chaotic auntie energy.

She would do ANYTHING for you.

She picks you up and places you on her hip like a baby.

She loves your ears! She also adores how sweet you are.

She wouldn’t admit it, but you’re the cutest thing she’s ever seen.

Even if you tell her your story, she wouldn’t see you differently. You’re a child, a child who went through so much.

Hangouts with her and Angel are a MUST.

They try to avoid doing the normal around you and focus on fun time.

She took you with her when she had a territorial fight one time and you almost cried.

She felt so bad that she bought you anything you wanted for a week.

She did anything you wanted to do, even if Husk or someone else said no to you.

Basically, if you wanted something, you went to her.

Alastor

He’s not one to like kids, really.

He was, however, kinder to you.

He did anything to protect you.

He was like your insane uncle.

He was the one who taught you how to use your abilities. Maybe to help you, or to manipulate you when you grow.

He made you jambalaya once and it became your favorite dish to share with him!

He introduced you to radio and he was happy that you loved it.

He started bringing you to his studio whenever he did a radio show.

He took you to an overlord meeting once. That’s how you met Rosie.

He pats your head like a dog lol.

Don’t expect him to be emotionally available. But he will be there to have fun sometimes.

[syzthefrizz]

Tips for writing dream sequences (from someone who has really vivid, weird dreams on a frequent basis)

My biggest pet peeve with fictional dream sequences is that they make too much sense!! They're too relevant! There's not enough random crazy stuff! That's not always unrealistic per se, but you are missing out on some of the fun ways you can reveal information about your character's mindset, fears, struggles, and future.

Most of my dreams have a goal or objective driving the plot, and it's usually urgent. Ex. "escape the huge storm on the horizon", "find a place to sleep for the night in an unfamiliar town", "find a bathroom". This is especially true of stress dreams.

Everything going on in the dream makes perfect sense to you during the dream. It doesn't feel like reality per se, but you think it is. You're living in a house full of vampires that could eat you at any moment? Seems legit.

Emotions and situations from the dreamer's life can/will find their way into dreams, with varying levels of subtlety. The dream could be about the stressful event itself, or it could be some sort of exaggerated metaphor. Ex. I was worried about whether I was a competent CS major while I was still trying to find a summer job/internship, and I was worried about what my professors must think of me. Such a good student on paper, still without summer plans. I dreamed that I ran into my professors all having lunch together at a restaurant (during a dream with a completely different storyline), and I was wearing my pajamas. They judged me.

Certain things are very hard to do in dreams. This could vary from person to person. For me, it's always driving (the brakes never work right), flying (I can't stay off the ground for very long), and running (it's like trying to run through waist-deep water).

People with PTSD may dream about the traumatic event happening differently than it actually happened. (Take this one with a grain of salt - I don't suffer from PTSD, I just research it sometimes so my blorbos can suffer accurately).

You can have a string of loosely connected or disconnected dream sequences back to back, each with an entirely different plot, setting, etc.

People can have reoccurring themes or plotlines in their dreams, which are often connected to their lives/psyche somehow. I frequently dream about running away from tornadoes and being in situations where there's some catastrophe coming but I'm the only one who understands that there's a problem and nobody will listen to me.

It's common for me to have a dream setting that I KNOW is someplace I'm familiar with, but it doesn't actually look like that place at all. Ex. "I dreamed that we were at my house, but it didn't look like my house..."

Dreams can end in cliffhangers. Sometimes I wake up right before I'm about to eat something delicious.

Sometimes people have dreams about doing things that they would never, ever do in real life, and they wake up feeling disgusted. This is Not a manifestation of their secret desires (*glares at Freud*).

Images are the most memorable parts of dreams. I forget the specific plot points, but I can still picture dozens of liminal spaces my brain has created, even years after I dreamed about it.

Dreams will fade from memory very quickly unless the dream had a strong impression on you, you write details about it down or you tell someone about it before you forget.

If you realize you're dreaming during your dream, sometimes you can control the dream going forward. This is called lucid dreaming. I've done it accidentally a couple times, and it's really hard to "hold on" to the dream and control it. I usually wake up soon after starting. With practice, you can get better at it.

Sometimes a normal/good dream can turn into a nightmare, and vice versa. Most of my dreams aren't really good or bad, they're something in between.

Your subconscious brain is CRAZY intuitive. We can argue over the existence of prophetic dreams (I've heard so many crazy stories), but at the end of the day, your subconscious brain knows things that you don't consciously know. If your character is in love with someone, their subconscious brain will know even if the character doesn't. Relationship problems? Deepest darkest fears and insecurities? Your brain knows. A dream predicted the downfall of my first relationship eight months before it happened, down to the reason why we failed. You can absolutely foreshadow this way. A character might subconsciously know what the consequences of their or other people's actions will be, understand things about the situation they're in, know things about the people they're interacting with, and more, despite their conscious realizations.

There are plenty of ways to make a dream sequence relevant to your story, but don't forget to add in some fun, random details. Character A is secretly in love with Character B? Have Character A dream about Character B confessing feelings to them while in a Vine Nostalgia themed restaurant over a plate of mac-n-cheese. The details are the fun part, and you can get as weird as you want. I once ran into my aunt in a dream, and she was wearing a backpack with a bunch of (fake?) hands sticking out of it, making a fan that rose above her back behind her head like some sort of peacock feather costume piece. I was so freaked out that I woke up. I dare you to get weirder than that.

Not everyone's brain works the same way. I have vivid, random, detailed, memorable dreams on a frequent basis. When I describe them to people they often ask "what were you on?". My roommate only remembers her dreams when they're nightmares. I have some friends who say they don't dream. Other friends have really boring, mundane dreams about their normal lives. Some people have weird dreams but only once in a blue moon. It's a good idea to decide off the bat what kinds of dreams your character has, and how often they remember them.

That's it for now, but I might make a part two if I think of more things to add. Feel free to reblog with your own personal dream expertise!

[blusocket]

I've seen some people express some confusion about what Fortnight is about, why it opens the album, what's happening in the video, etc, so here's my attempt at an analysis. For the most part I'll be referring to the characters in the video with the names of the people playing them (Taylor and Post) but at times I'm going to be making direct reference to the events of Taylor's personal life and referring to the muses by their names (Joe and Matty) for the sake of clarity and simplicity.

The song itself uses the suburbia conceit as an extended metaphor for the beginning of her relationship with Matty (he's the neighbor she runs away to Florida with, Joe is the cheating husband.) For more eloquent and detailed thoughts on the narrative of the song you can check out Jaime @cages-boxes-hunters-foxes's post here.

The video is really dense, and I'm not 100% confident in every aspect of my interpretation, but I feel pretty sure that it's making extensive use of visual metaphor in order to tell roughly the same story as the song, just in a different setting. To start, Taylor wakes up chained to a bed in a white dress.

To me this suggests that she's been driven mad by being left at the altar, and is now trapped, surveilled and controlled, in a type of asylum. This represents the end of her relationship with Joe--waiting for a marriage that never came, feeling trapped, mentally unwell etc.

She then takes 'forget him' pills which reveal Post's tattoos on her face when she looks in the mirror.

This represents Matty (the "miracle move-on drug") and shows that he made a mark on her while she was still in the asylum--that is, still in her relationship with Joe. Additionally, in the wide shot where we see the mirror, its size and shape are very reminiscent of a one-way mirror, often seen in interrogation rooms and psychological experiments, further reinforcing the idea that Taylor is imprisoned here.

She then is able to go to the typewriter room and do her work, creating art about how she's feeling, shown by her repeatedly typing "I love you, it's ruining my life" on the typewriter. She's still in pain and feeling trapped. While there, she encounters Post and they create art together, which creates beauty and color in her life. The blue and gold obviously reference her writing about Joe, but the fact that her work is gold and Post's is blue may be a deliberate choice to draw parallels between Matty and Joe, as she does on numerous songs throughout TTPD.

The next scene, where Taylor's hair is down and she and Post are wearing the same black coat and pants, takes place inside her head (symbolized by the shape of the papers they're laying on.) She is dreaming about them being free and creating art together, represented by the papers surrounding them and book she's holding, which has the word "us" written on the cover. She's writing their story before it's begun.

She then reaches for his hand in her fantasy, accepting and asking for this relationship

Then we see that she's being studied and experimented on--the results of the lie detector test read "I love you, it's ruining my life." Her pain is an object of fascination.

Interestingly, Post is part of the group experimenting on her, but when the experiments begin to cause her pain, he liberates her.

This inspires Taylor to destroy the place where she's been trapped, which we see through her opening the filing cabinets that cover the walls and destroying the mirror. I also find the shot of her standing still while papers burn around her interesting and significant; I interpret this as Taylor destroying her own work about Joe. By choosing to leave, she is metaphorically burning--rejecting--the story she wrote about them.

Finally, Taylor and Post enter the dangerous outside world together; the rain echoes the lyric "I chose this cyclone with you" on the album's title track. While I do feel the meaning of Post being in the phone booth is somewhat ambiguous, the framing and the accompanying lyric--"I've been calling ya but you won't pick up" suggest that he's attempting to communicate with her but can't reach her. They are free of her prison, but still separated.

Then, he hangs up the phone and reaches for her hand, and she takes it. The final shot of the video is a close up on their linked hands, presenting us with a cautiously optimistic ending--they are lost and vulnerable in the middle of a storm, but they have each other.

I feel this is a somewhat less sinister, for lack of a better word, portrayal of the start of Matty and Taylor's relationship than is suggested elsewhere on the record, though I believe Post's character being part of the group experimenting on her is significant and the editing creates some ambiguity about exactly when and why she decides to break free. But I hope this clarifies how the video sets up the beginning of this story, the fallout of which is then chronicled over the course of the rest of TTPD.

[writingwithfolklore]

Specificity, Voice and Backstory

                Today we're talking about character voice, backstory, and writing with specificity. I’ve talked about all these elements separately, but combined these three are the most important elements of your description. Why? Because describing something is the best place to learn not only what the character is experiencing, but more about them and their backstory.

                We do that through drawing comparisons not to abstract ideas, but to specific moments the character has witnessed. Okay, consider these two examples:

The room smelled of warm spices and herbs like a fancy restaurant kitchen.

Vs.

The room smelled like the thyme and basil that clung to my mother's hair when she had finished making dinner, kneeling to hug me after I came in from school.

                They convey the same information, but we learn so much more about the character in the second example.

                In my Differentiating between Perspectives post, I talked more about attitude in character voice. What your character compares things to is a great tell for voice. Here’s the example from that post:

                “The bar was filled to the brim with sweaty drunks falling over each other, barely cognizant of the drinks they were spilling--much less so the people around them.”

                Versus

                “Upbeat dance music filled the bar. A crowd had formed in the middle of the floor, people cheering and dancing together like the rest of the world hardly mattered.”

                Right?

                Check out the full post here:

                So when you’re describing something and reaching for a metaphor or something to liken it to, try to make it personal, in the character’s voice, and specific. We can learn a whole lot more that way.

[atopvisenyashill]

king bran

so i’ve lined up my theory on how bran will be king in harrenhal but i was a little lax on details about king bran foreshadowing. there’s the “bran in harrenhal” stuff i’ve outlined which includes-

bran’s connection to the weirwoods & the magical connection the isle of faces has

the whent connection

bran being a metaphorical heir to robb by ruling over the lands robb was born, fought, and died in

the importance of harrenhal as a symbol of both the wasteful excess and hope for the future

but why king bran specifically? well…

ATTEMPTED SLAYING BY THE KINGSLAYER

for one thing, bran is our introduction to the entire series (barring the prologue, rip to 3 icons). he introduces us to the brutality of this world, to the themes of justice, kingship, leadership, to the Others, and to magic. that very important lesson about how the person to pass judgement must swing the sword, and must be sure that the life they're taking is one that deserves to be taken? That comes to us not through Jon, or even Arya, but Bran:

Yet our way is the older way. The blood of the First Men still flows in the veins of the Starks, and we hold to the belief that the man who passes the sentence should swing the sword. If you would take a man’s life, you owe it to him to look into his eyes and hear his final words. And if you cannot bear to do that, then perhaps the man does not deserve to die.

That last sentence in particular is a belief that really sticks in all the kids heads as they go about their journeys, and it is through Bran that we learn it.

But in his second chapter, Bran also introduces us to jaime, cersei, and the main plot twist of the first book which kick starts the war of five kings. before he's pushed from the tower, this is all we know about Jaime-

He’s blonde, he’s named Jaime, and he killed the king.

Then the first thing he does is attempt to slay Bran.

AEGON VI AND THE PISSWATER PRINCE

What’s most interesting to me regarding King Bran foreshadowing is that the story of how Bran survives the sack of Winterfell is very similar to Varys & Illyrio’s story of the pisswater prince. Here is Tyrion’s summary of it-

"And when the pisswater prince was safely dead, the eunuch smuggled you across the narrow sea to his fat friend the cheesemonger, who hid you on a poleboat and found an exile lord willing to call himself your father. It does make for a splendid story, and the singers will make much of your escape once you take the Iron Throne…

and some reminders about Bran, helpfully color coded-

It was not Bran we killed. It was not Rickon. They were only miller's sons, from the mill by the Acorn Water. "I had to have two heads, else they would have mocked me… laughed at me..."

Three times he had sworn to keep the secret; once to Bran himself, once to that strange boy Jojen Reed, and last of all to Coldhands. "The world believes the boy is dead," his rescuer had said as they parted. "Let his bones lie undisturbed. We want no seekers coming after us. Swear it, Samwell of the Night's Watch. Swear it for the life you owe me."

“Hodor must stay with Bran, to be his legs," the wildling woman said briskly. "I will take Rickon with me." “We'll go with Bran," said Jojen Reed. "Aye, I thought you might," said Osha.

Another interesting thing about Bran, the Reeds, and Aegon VI here-

“He has a song," the man replied. "He is the prince that was promised, and his is the song of ice and fire."

I swear it by earth and water," said the boy in green. "I swear it by bronze and iron," his sister said. "We swear it by ice and fire," they finished together.

BRAN, THE REEDS, AND THE FISHER KING

Now first of all, quick rundown with more color coding. The Fisher King is a character in Arthurian legend, involved in a story with Perceval and the Holy Grail (so you know we’re already cooking here bc Holy Grail stories are baller). The Fisher King is the last in a long line of kings tasked with guarding the Holy Grail. He is injured at some point, usually in the groin, and is rendered barren by the wound, and his land is a barren wasteland where nothing will grow because he is connected to the land. Only when a prophesied hero comes seeking him will the Fisher King be healed. Perceval, of course, comes seeking him, heals him, and gets the Holy Grail.

Now some of the beats of that story should sound familiar-

Thousands and thousands of years ago, Brandon the Builder had raised Winterfell, and some said the Wall. Bran knew the story, but it had never been his favorite. Maybe one of the other Brandons had liked that story. Sometimes Nan would talk to him as if he were her Brandon, the baby she had nursed all those years ago, and sometimes she confused him with his uncle Brandon, who was killed by the Mad King before Bran was even born. She had lived so long, Mother had told him once, that all the Brandon Starks had become one person in her head.

He was going to be a knight," Arya was saying now. "A knight of the Kingsguard. Can he still be a knight?" "No," Ned said. He saw no use in lying to her. "Yet someday he may be the lord of a great holdfast and sit on the king's council. He might raise castles like Brandon the Builder, or sail a ship across the Sunset Sea, or enter your mother's Faith and become the High Septon." But he will never run beside his wolf again, he thought with a sadness too deep for words, or lie with a woman, or hold his own son in his arms.

The stone is strong, Bran told himself, the roots of the trees go deep, and under the ground the Kings of Winter sit their thrones. So long as those remained, Winterfell remained. It was not dead, just broken. Like me, he thought. I'm not dead either.

What was he now? Only Bran the broken boy, Brandon of House Stark, prince of a lost kingdom, lord of a burned castle, heir to ruins. He had thought the three-eyed crow would be a sorcerer, a wise old wizard who could fix his legs, but that was some stupid child's dream, he realized now. 

No," said the pale lord. "That is beyond my powers." Bran's eyes filled with tears. We came such a long way. The chamber echoed to the sound of the black river. "You will never walk again, Bran," the pale lips promised, "but you will fly."

Now what’s interesting is in twoiaf we learn about some ancient rulers called the Fisher Queens-

From such we know of the Fisher Queens, who ruled the lands adjoining the Silver Sea—the great inland sea at the heart of the grasslands—from a floating palace that made its way endlessly around its shores.

The Fisher Queens were wise and benevolent and favored of the gods, we are told, and kings and lords and wise men sought the floating palace for their counsel.

And what do you know look at who Bran is traveling with-

“My father taught me. We have no knights at Greywater. No master-at-arms, and no maester.” “Who keeps your ravens?” She smiled. “Ravens can’t find Greywater Watch, no more than our enemies can.” “Why not?” “Because it moves,” she told him.

Jojen Reed was thirteen, only four years older than Bran. Jojen wasn't much bigger either, no more than two inches or maybe three, but he had a solemn way of talking that made him seem older and wiser than he really was. At Winterfell, Old Nan had dubbed him "little grandfather."

When they died, they went into the wood, into leaf and limb and root, and the trees remembered. All their songs and spells, their histories and prayers, everything they knew about this world. Maesters will tell you that the weirwoods are sacred to the old gods. The singers believe they are the old gods. When singers die they become part of that godhood.

I like to say this about Theon, when he sees Bran's face in the weirwood and thinks, "The old gods, he thought. They know me. They know my name." that this is partially true - Theon is beloved by the gods but what he doesn't realize is that the old god he is beloved by is in fact Bran Stark. When the old gods weep for Theon and Jeyne, it is Bran weeping for them! So similarly, the way the Fisher Queens in their moving castle were thought to be beloved by the gods the Reeds in their floating castle are beloved by the gods because they are beloved by Bran. This reinforces Bran's connection to the Fisher King imo - just as the old greenseers and singers/cotf are quite literally connected to the land because they have become part of the the weirwood hivemind, Bran has this same connection to the land.

AND what’s more is that the Fisher King story is likely to trace itself back to a Welsh story, of a magical King who gives his sister's hand away, only to learn that she is being mistreated, and musters a host to go save her. During a battle, the King is mortally wounded by an injury in his foot, and as he dies he tells his men to cut off his head and take it to London so he can protect their people from invasion, and for several years after he "dies" his head continues speaking. If that also sounds familair, do you want to know what that man’s name was?

Bran the Blessed.

MELISANDRE'S VISION

Now staying in the realm of magic, we also have this very interesting passage from Melisandre, emphasis mine-

Show me Stannis, Lord, she prayed. Show me your king, your instrument. Visions danced before her, gold and scarlet, flickering, forming and melting and dissolving into one another, shapes strange and terrifying and seductive. She saw the eyeless faces again, staring out at her from sockets weeping blood. Then the towers by the sea, crumbling as the dark tide came sweeping over them, rising from the depths. Shadows in the shape of skulls, skulls that turned to mist, bodies locked together in lust, writhing and rolling and clawing. Through curtains of fire great winged shadows wheeled against a hard blue sky. A face took shape within the hearth. Stannis? she thought, for just a moment … but no, these were not his features. A wooden face, corpse white. Was this the enemy? A thousand red eyes floated in the rising flames. He sees me. Beside him, a boy with a wolf's face threw back his head and howled.

THE REGENCY OF AEGON III

So warning this is part parallelism and part prediction

The Dance of the Dragons was done, and the melancholy reign of King Aegon III Targaryen had begun.

As he was still but ten years of age, the new king’s first act was to name the men who would protect and defend him, and rule for him until he came of age.

This was a council of which Septon Eustace heartily approved, “six strong men and one wise woman, seven to rule us here on earth as the Seven Above rule all men from their heaven.” Mushroom was less impressed. “Seven regents were six too many,” he said. “Pity our poor king.” Despite the fool’s misgivings, most observers seemed to feel that the reign of King Aegon III had begun on a hopeful note.

So many lords, both great and small, had perished during the Dance of the Dragons that the Citadel rightly names this time the Winter of the Widows. Never before or since in the history of the Seven Kingdoms have so many women wielded so much power, ruling in the place of their slain husbands, brothers, and fathers, for sons in swaddling clothes or still on the teat.

The smallfolk of the Seven Kingdoms speak of King Aegon III Targaryen as Aegon the Unlucky, Aegon the Unhappy, and (most often) the Dragonbane, when they remember him at all. All these names are apt. Grand Maester Munkun, who served him for a good part of his reign, calls him the Broken King, which fits him even better. Of all the men ever to sit the Iron Throne, he remains perhaps the most enigmatic: a shadowy monarch who said little and did less, and lived a life steeped in grief and melancholy.

There is also a big focus on the “tax policies” aspect of the story through these two child rulers. Much of Aegon’s regency centers around him butting heads with his guardians while Bran’s ACOK arc sees him as the ruling Stark in Winterfell and learning how to lead with mentors in Maester Luwin & Ser Rodrik Cassell. EYE also think it’s interesting how both Aegon & Bran get some focus on having a lil gaggle of companions around. Aegon has Gaemon, Jaehaera, Viserys, Daenaera, and Larra Rogare, while Bran has the Big Walder, Little Walder, Rickon, Jojen, and Meera. They both feel like very similar groups of kids that are thrown together & running amok with adult supervision that is more lax/not coming from their parents.

There's also just like, a lot of parallels between Baela, Rhaena, Jacaerys, and Aegon with Arya, Sansa, Jon Snow, and Bran. There are several good breakdowns of the Sansa/Arya parallels as well as the Jace/Jon Snow ones, so I won't dig into that here, but I think when you put all this together what you have between Bran and Aegon III is-

Two boy kings who will have a long regency

Both orphaned due to a brutal succession war

Both referred to as "broken" - aegon by munkin, and bran referring to himself

Younger - but not the youngest - brother coming into his seat after his older brother is killed

Both have names that are important in their families & frequently re-used - and in fact both share a name with their uncle

A very rare "winter of widows" where most of the houses are ruled by women due to all the men being dead and their heirs being babies is coming up in the main series

This anti parallel of Aegon being a very melancholy person & Bran being known to be “quick to laugh and easy to love.”

As for his relationships, we have-

His bastard born brother With Some Secret Paternity Going On, who is likely not going to be in the running for King at the end of the war (hopefully um, Jon Snow actually lives unlike poor Jacaerys)

His oldest brother dying at 16 during the war

One sister who is more adventurous and "tomboy"ish, who is associated with ships and travel

Another sister who is more ladylike, who has a largely political arc in the Vale

Both sisters are likely to take leading roles as political players in the aftermath of the war - I do suspect we will get some sort of “Hour of the Wolf” parallels here, just before or after Bran is crowned

SOME CHOICE QUOTES TO LEAVE OFF ON

Bran could perch for hours among the shapeless, rain-worn gargoyles that brooded over the First Keep, watching it all: the men drilling with wood and steel in the yard, the cooks tending their vegetables in the glass garden, restless dogs running back and forth in the kennels, the silence of the godswood, the girls gossiping beside the washing well. It made him feel like he was lord of the castle, in a way even Robb would never know. - Bran II, AGOT

Ahead he glimpsed a pale white trunk that could only be a weirwood, crowned with a head of dark red leaves. - Jon VII, ADWD

[tenjikufag]

Hello!! Hi I really love your stories. Uhm if I can ask, can you do a fluff of Dr ratio from honkai star rail x male reader. Once again I love your stories and creativity. <3<3<3

Let’s look at the stars.

Dr. Ratio x male reader

- Fluff, no warnings

-note, I apologize for ooc content (I’m not all too familiar with this character.)

“-immense pressures and temperatures in the star's core squeeze the nuclei of hydrogen atoms together to form helium, a process called nuclear fusion…”

Late nights spent listening to your partners current interest were quite common, you loved to hear him speak with such enthusiasm.. he was in his element and you couldn’t be more happy to be the person he chooses, time and time again, to share it with.

This time, his current studying led him to the stars. Many dumb them down to dead balls of gas, but to him they were so much more. Even if he wasn’t all that big on sentimental things, something about the stars only showing their bright beauty after dying- it moved him in a way.

The two of you laid under the stars, only giving him hums in response to assure him that you were listening. Not that you could ever get a word in, he kept explaining his findings and moving his hands outwards to point to the many constellations, the pathways, which stars had names and what they meant..

“Did you know stars don’t actually twinkle? The proper phrase for it would be scintillate, which only happens when they find themselves among the horizon..”

“Then where do you think the phrase came from?”

Glancing over at him, his lip curled into a smile at the question.. he didn’t have an answer for that, it was more of a metaphorical phrase and the ties to such a phrase would be as endless as a black hole. So, he only smiled and half-heartedly brushed off not knowing such an answer.

“Oh? The doctor doesn’t have an answer?”

The male chuckled, turning his head to look at you with a soft smile.

“Hm, although I know you ask in jest..”

You watched as he sat up, moving to hover his head just above yours.

“Let me conduct a.. study if you will..”

The love in his eyes reflected your own. Nodding, you let him instruct you.

Grabbing your hand, he held it firmly in his own and pressed it into his chest. He then instructed you to close your eyes and timed you to keep them shut for a few seconds.

“Now open..”

You felt his breathe on your lips, noses almost touching but he kept a strong gaze into your pupils.. he watched as they dilated and how they..

Twinkled.

Satisfied, he laughed to himself

“Just as I thought..”

He moved to straddle your waist, now holding both of your hands and again dipped down to closely watch your eyes and how the stars reflected in your irises.

“The term "twinkling stars" is derived from the Old English word "twincan," which means "to twinkle or blink.”

Sitting up, he found himself staring back up at the sky to observe the stars align and glancing down back to your eyes to see how the light refracted..

“This term was likely used to describe the flickering or shimmering appearance of stars in the night sky, which is caused by the Earth's atmosphere…”

Your body followed his, chests pressed against one another and arms now wrapped around his slim waist.

“Is that actually true? Or are you simply making things up again?”

He laughed, clasping your face in his hands in delight.

“It’s true dear, don’t think I didn’t account for such a question from you. I’m honestly.. quite flattered you’d think I could lie to you about such an intimate thing..”

Intimate?

“I see those gears turning, Y/n. Stars are seen as signs of affection by many people, looking up to see the same stars their loved ones are seeing or maybe even looking for their lover among them..”

His smile faltered, the gaze he held no longer as strong. You felt his lips plant themselves on you. Smiling into the kiss, he pushed you back to lay on the plush grass beneath you- hands moving to hold your neck and caress his fingers along your jaw. When he pulled away, an uncharacteristic bashful blush covered his cheeks..

“Even though my study was fruitful, and I quite enjoyed it..”

Lips met yours again, but for a small loving peck

“I must say.. I enjoy studying these ‘twinkling’ stars in your eyes much more..”

He left one more chaste kiss on your lips before sliding off of you, returning to his spot beside you.

The man would learn everything through you if he could, but to use his studying to show his adoration to you was something he’d never thought would be possible- it never crossed his mind before you came into his life.

He’d study a million stars if he got to see them in your eyes.

I really hope this was okay, and not too ooc- thank you for the request!

[pinacoladamatata]

transcribing some codex letters.... Spoilers, obviously.

all the letters i've found from Felassan (not counting the ones that actually save in the codex, these are the ones found around the crossroads.) bc i want the text easy to copy for reasons

An Unknown Artifact

What are the Crossroads doing? "The spirits of the Crossroads do as they must, Felassan. As do we all." Thank you, Solas. That's incredibly useful. Really helps your old friend pull together a rebellion against the Evanuris. -Felassan

The Blighted Tree

This is a holy place. The tree draws strength from the earth, just as the first elves did. Some younger elves grow trees in the cities to honor their ancestors. Roots have a tendency to dig down and gnarl up, then twist around things they aren't supposed to, though. Hoping that metaphor doesn't stick. -Felassan

The Cathedral of roots

When we first started, this was a safe place for spirits who joined our cause to find peace from the stress of battle. Now… I don't know. Not a lot of spirits use it any longer. Have they grown stronger, or has the fight against the Evanuris made demons of us all? -Felassan

Mirrors upon Mirrors

This place is amazing. June's normal eluvians function with twinned lyrium fragments. One always leads to another. Solas somehow talked the crossroads into making Fade-eluvians that override them. His own network to run our rebellion. Provided you ignore all the old stories about holding mirror up to mirrors and getting caught in the infinite reflections. -Felassan

A refuge for Mythal

Solas always thought Mythal would join us eventually, that she was better than the rest of the Evanuris. He made this place so she'd be comfortable here once she joined the rebellion. Now it's too late. Solas has sealed this place off out of grief. He won't let me in. I'm sorry, my friend. There was something left for the war to take from you after all. -Felassan

Calm before the storm

I come here sometimes when I need to be myself. Not Solas's friend Felassan. Not the slow arrow of the rebellion. Just me. He hasn't been right since what happened with Mythal. He's planning something with the dagger. And if it were a good idea, he'd have told me. Damn it, Solas. I'm with you as long as we're protecting the innocent from the powerful, but you make it hard sometimes. -Felassan

The Empty Forest

This place used to be full of spirits who flocked to Solas's cause. When his ritual went wrong- when everything went wrong- he vanished, and the spirits stopped coming. Where are you, my friend? You stopped the Evanuris, but broke the world. Please tell me you didn't leave me to fix all this alone. -Felassan

[crumbledcastle28]

Din Djarin: Bright and Shiny

Pairing: Din Djarin x fem!reader (she/her)

Excerpt: “Do you like It?” he whispered, and you swore you were dreaming. You had pictured him like this so many times—so many times—but it was real. This was fucking real and you were fucking on fire.”

“Yes,” you said, breathily. “I do.”

You were locked on his helmet so badly that you didn’t see his right hand creeping up to frame your face with it. Holding your cheeks between his thumb and the rest of his fingers, forcing you to focus on his face.

“What do you like about it?”

Warnings: smut smut smut and more smut (me writing a dom man?), with softness at the end. The Crest is aliveee. Grogu isn’t here yet.

A/N: Happy Dincember everyone, aka my absolute favorite tumblr tradition. To all the authors updating prompts every day…are you Gods?

If you’d like to leave a like, comment, ask, or reblog, it would be very appreciated <3

Pedro Masterlist

There was no bigger hypocrite in the galaxy than the infamous Mandalorian.

Blood-crusted beskar coated the majority of his body every time he placed his feet on solid ground—every time— in addition to the metaphorical armor that was his demeanor. Solid, unbreakable, stern, terrifying.

It was not until you had spent a few months as his “partner” at the Guild, thus living together on his quickly crumbling Razor Crest, that you were met with his true doctrine of hypocrisy.

It was as if every time he elected to remove a piece of his armor for you, he knocked down one of his walls. First was the night he removed the small shoulder and shin pieces, the same night he elected to crack his first joke. Next was the dark-browned chest, sharing with you that he was a foundling in his Covert. Then the belt, covered in more weapons and weight than you had ever seen, and he told the story of his first kill. Then the wrists, along with the story of his toughest kill. The one that haunted him as he attempted to fall asleep at night. Then his gloves, with the story of the first woman he had ever fell in love with.

“You remind me of her,” he had said to you, “except you have actually stayed.” He had said the last part quickly before immediately exiting the pit to hide in his “room” for a few hours.

You remained in your copilot seat, staring off into the stars of hyperspace, unable to think at all.

Slowly—very slowly— the Mandalorian had revealed more and more of his true self to you. The one who would sneakily hum around the Crest, make sure to turn your heated blanket on early on cold nights, and always—always—avoid spiced food like the plague.

“It upsets my stomach,” he had defended, and you scoffed in return.

After such long travel-times on jobs, you would get so used to the softness of his true personality that when he would have to put his armor back on—literally and figuratively— you almost felt like you were looking and speaking to a different person.

The heat in your lower stomach felt that way too.

It flared when he was soft, but the switch from the man you knew to the Mandalorian always reminded you both of when you first met him and what he was truly capable of.

Plus, seeing the width of his shoulders accentuated by the most expensive and impenetrable metal known to man was not bad either.

You had been sitting at the usual meeting spot with Greef, ready to discuss the dozen pucks already sitting in front of you. You were still due for a new job after the boat-load of beskar given to you for the little green baby— which definitely was not still on your conscious— and Mando was running a bit late due to the crafting of his new armor. You waited anxiously to see the results.

“I have never held this much in my own hands before,” he had said to you, and you beamed up at him as he spoke. “This will likely be enough for an entirely new set.”

You had no idea how right he was.

You sat at the booth with Greef, making pleasant enough conversation, but mostly daydreaming of what Mando was seeing, feeling, touching. The pleasure to watch his own armor be crafted by hand, you could not even imagine what that would be like.

You took a sip of your drink—one that Greef had been so gracious to buy for you—and let it burn as you set it down on the sticky wooden table. As soon as the glass touched the wood, the entire cantina silenced, and all eyes went to the entrance. Your eyes followed the crowd’s, unable to see for certain what everyone was looking at.

It only took a few seconds for you to realize that the “what” was actually a “who,” and that “who” was the kindest man you had ever known wrapped in wealth, power, and impenetrability.

It was a good thing you had set your drink down, because it would have dropped to the floor, shattering into millions of pieces, because he was the sexist thing you had ever laid your eyes on.

This was the Mandalorian.

You thought his previous armor was intimidating—small shoulder pieces, a wide chest piece, and even wider thigh pieces. He was both a distraction to you and a threat to everyone else in that armor.

But now, now he fully covered, head to toe, in shimmering silver. His waist the tiniest you had seen it, with his shoulders as wide as they had ever looked. Almost the entirety of his legs were covered now, and even his helmet gleamed and glistened in the light. He walked straighter, stood taller, and stepped slower. Like he was enjoying this.

He had never looked more lethal, and with all of the eyes on him, his own were on you.

You stared back at him as he made his way, mouth slightly parted, and legs squeezing tighter and tighter together with each step he took. The typical slight steam in your stomach at the sight of him was now boiling hot, running through the blood in your body faster than you could process. The lack of blood flow to your brain caused it to wipe itself clean and focus solely on the warrior in front of you. Your hands began to shake and your mouth parched.

You were speechless. A deadly bounty hunter stunned speechless.

He said nothing as he scooched his way into the booth, and you remained looking at him even when his body was turned towards Greef.

“I want my next job,” he said.

Greef said something, something witty, but you didn’t hear it. Couldn’t hear it.

“I want my next job,” Mando repeated. Amban rifle in his lap, leaning slightly forward.

Holy fuck the heat in you.

He grabbed a puck and began walking out, turning back to signal you to follow. You stood slowly, thanked Greef, and exited the Cantina, eyes locked on the expanse of his back the entire walk to the Crest.

~*~

It wasn’t two seconds after Mando put the security lock on the Crest that he had you cornered with his words.

“Is something the matter?” he asked, taking a step closer to you. You were both in the cock pit, ready to take off, and you were standing in front of the controls.

“No,” you said, meeting his gaze as fiercely as you could. Your hands were glued to your sides and your fists squeezed so hard they stung.

“Okay,” he said, so fucking softly it hurt you. He was still making his way closer to you, forcing you to look up.

“Okay,” you responded, and you thought that was it. He would back off.

But your fucking eyes betrayed you, darting down to the expanse of his body, and he laughed.

“Do you like It?” he whispered, and you swore you were dreaming. You had pictured him like this so many times—so many times—but it was real. This was fucking real and you were fucking on fire.

“Yes,” you said, breathily. “I do.”

You were locked on his helmet so badly that you didn’t see his right hand creeping up to frame your face with it. Holding your cheeks between his thumb and the rest of his fingers, forcing you to focus on his face.

“What do you like about it?”

You could barely breathe enough to respond. Your throat instantly dried, and every word of any language was lifted from you.

“I—I like—” you started, swallowing “—I like the chest.”

“The chest,” he said, bringing your hand up to the cold metal. “What about it?”

You traced your fingers down it, still forced to look up at him by his leather glove. “I like how wide it makes you. How powerful.”

He stood there in silence before asking, “what else?”

“The legs,” you whispered. “I really like the legs.”

He nearly growled. “Why Y/N? Tell me.”

Your name on his lips at this stage of the game was too much.

“It makes them look big. Strong,” you said, heart in your throat. “I like that.”

He softened his grip on your face and moved his hand to the back of your neck. “I know you do.” He then tapped twice on his helmet. “Heat signature.”

Your face fell and paled.

How long had he—

“I’ve known since the first day I met you,” he said, massaging your neck. “Just never knew how to bring it up.”

“Why now?” you whispered, voice deep from the pleasure of his fingers.

“Because this is the strongest it’s ever been for you,” he replied. “And for me. Seeing you watching me like that…”

He brought his hand back to frame your face.

“…I’ve never wanted anything more in my life than you in that moment.”

He started pulling you forward by your face.

“And now i have you, don’t I?”

Yes he did, so much of you, parts of you you didn’t even know about before him.

“Yes.”

He let go of you and sat in the pilot’s seat, spreading his legs.

“So ruin me, Y/N. Ruin this bright and shiny armor.”

You practically jumped on him.

You immediately mounted him, wrapping your hands around his shoulders, and felt all around the metal. Your breaths fogged up his helmet as you did, practically moaning at the chance to finally feel the expanse of his body. He kept his hands firmly on your hips, watching your face as you panted and whined in his.

After a few moments he picked you up and sat you on his right thigh.

“Go on.”

You immediately rolled your hips, fully moaning at the feeling, and rolled them faster and faster and deeper and deeper.

Your head began tipping back as the metal ground against your clit perfectly, but Mando pulled your face forward to rest your forehead on his.

“Mando—”

“It’s Din,” he said firmly, squeezing your hips enough to bruise. “Say it.”

You rolled your hips over and over, desperation dripping off your voice. “Din.”

It was then that he released a moan, ripped your pants and underwear off of you, and took control of your hips on his thigh. He placed you down just right and tears coated your eyes, sweat poured from your pours, and with one inch of incline from his leg, you shattered.

Your forehead fell against his, panting and whining “Din” over and over again as he kept you moving on him through your orgasm. You felt yourself drip down onto the floor and run down his legs, and your eyes rolled at the thought.

You held onto the fabric around his neck for dear life, gathering as much breath as you could, and Din just let you.

It was then that he started to feel you up.

He moved from your hips to your bare thighs, back up to your clothed breasts, then to your face to brush back your hair, and finally back down to your thighs. He gathered your drip from his thigh onto his leather glove. He brought it underneath his helmet, and your mouth dropped open.

He sucked it slowly, not making any noise except a slight groan. “I knew I was right.”

You swallowed, still panting in both exhaustion and shock. “Right?”

“I knew every part of you was perfect.”

Your eyes fluttered closed, and you smiled nice and wide. You had a feeling he was smiling too.

It was this sense of elation and euphoria that gave you the freedom not to think before sliding your hand over his hardened bulge and raising your eyebrows in question.

He chuckled, which somehow melted you more than anything he had done previously.

“Not right now,” he said sweetly, and pulled you into his chest. You cozied up into him before he slowly lifted you, allowing you to wrap your legs around his waist. “I don’t think I’d last two seconds.”

You smiled, humming. “Okay Din.”

His body tensed a bit when you said that, and you wondered if you crossed some sort of boundary, but he continued on his way to his bed. He set you in It, wrapping you in his sheets, and grabbing a towel to clean you off. You got a good show of yourself stained and running all over his thigh and nearly jumped on him again.

“Like I said,” he countered, likely picking up on the change in your temperature, “I wouldn’t last two seconds.”

You nodded with a smile and he took the towel to the laundry room before returning to you, sitting on the side of the bed.

“Get some rest,” he said. “We have a job to do in the morning.”

He stood, making his way back to the cockpit, but you called out to him.

“Mando, wait,” you said, and he froze before slowly turning back around. “Are we okay? Was that…okay?”

He paused, leaning himself into the doorway, sighing as always, and said, “Y/N, I wouldn’t trade the world for the last hour I’ve had with you.”

You enjoyed this forward, talkative Din much more than you anticipated to.

“And call me Din,” he said. “Please.”

He then left you, starting up the Crest to make its way to hyperspace, and you drifted slowly into sleep, still on a high. You finally fell asleep to the feeling of a warm body wrapping itself around you, and a deep voice whispering in your ear, “We’re okay, Y/N. We’re okay.”

Tag list: (I apologize if your tag is not present/not working. Let me know if you’d like to be added!)

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[taeggukxiie]

I don't really like endhawks and it's not so much because of the age gape or the fan/idol relationship (la brava and gentle have some age gape and bakudeku are the pure description of fanatization/idolization trope and I like both of those ships), but more because endeavor literally embodies what Hawks hate the most.

Hear me out on this one, they have cute interactions but for me the fact that Hawks stayed by endeavor's side even knowing what he did to his children is kinda out of character. I mean the whole thing why keigo wanted to be a hero was to help people and make them smile because he went through abusive behavior all his life. Endeavor do save people but doesn't make them smile, not directly anyway. Hawks wanted to help the new generation, but endeavor traumatized the generation he gave birth to. Hawks wanted to be free, but endeavor stole freedom from his children (at least until he becomes number 1 and shoto comes to UA).

I understand hawks forgiving and accepting endeavor even after what he did, because hawks is so optimistic that he wants to believe eveyone can change for the better, but I don't understand him staying by endeavor's side. I mean, how traumatic would it be to discover that your idol who saved you and gave you a dream to follow did the exact same things as the person who traumatized your childhood? I see some narrative problems here. Or maybe it's just that hawks is too optimistic for his own good.

The thing is, I think Hawks so desperately needed a symbol to give him hope that he didn't even try to look more profoundly into endeavor's mistakes. Like he tried so hard to convince himself. Here we can see that hawks says he could keep up with training and abuse by the commission because someone supported him, probably implying endeavor. But it wasn't even true, hawks just chose to idealize enji because he saved him, but enji didn't know hawks before metting him as a hero, so he couldn't actually support him in his dream. I know it's only metaphoric, but it does mean that Keigo just needed something, someone to hold onto because of all the suffering he went through. And he chose endeavor, who was the only person indirectly "caring" for him.

Now maybe it's because I adore Hawks and I hate endeavor (the man and his actions, not the way he's written), but I can't imagine them in a romantic relationship. How could Hawks give his trust and love to the exact same profile as his father? How could they live together without hawks remembering the abuse? I think that even enji himself wouldn't trust his own reactions and feelings, hunted by the past. "The past never dies", and it's true for everyone in this story.

Look how similar they are. Honestly I don't really understand horikoshi on this one because if he wanted to give enji a loyal sidekick, then why give Hawks an abusive father?

Or if horikoshi wanted to give us grumpy x playful duo, then do it with dabihawks? They had so much potential to be our favorite bickering duo, and their drama would've been so good if they both knew each other before touya's death, became close during hawks undercover mission and then went through a heartbreaking breakup during touya's reveal.

(look at them they could've been soo good as a grumpy x playful duo aah)

Instead, we got Hawks indirectly supporting the same abuse he went through and the destruction of dabihawks' potential with the biggest absence of interactions ever after the first war.

(Also I want to add that I respect everyone's opinion and I don't hate endhawks shippers at all! It's just my point of view on the ship, everyone is free to ship whoever they want if that stays legal 🙏)

Maybe I'm going too far into the analysis (someone stop me please I'm talking too much-), but I really think that endhawks couldn't work, for hawks as much as for enji. Now the interesting thing to ask would be : would dabihawks actually work in a romantic relationship? I guess we'll never know.