#by the end of the series i think there’s respect there

[sugarlywhispers]

b.katsuki x reader (fem) | quirkless!reader, prohero!dynamight, arranged marriage au.

a.n; fare warning, THIS IS A MONSTER<3 lol

Fuckin' Marry Me Series | First Part | Second Part |

The gentle sound of the scribble your pen makes over the paper, right where it requires your formal signature, is heard louder than you expected in that tense silence. Well, it isn't a bad silence, but more like an anxious one. One that has Bakugou, who is sitting right next to you, literally shaking his right leg up and down continuously, even though you already told him you would do this.

And what does ‘this’ mean? It means you agreed to marry Bakugou-annoying ass-Katsuki. To help him finally be free from his own mother's clutches.

You had a hard time believing in the whole story he told you when he knocked on your door last Sunday morning –almost tearing down the door actually– after his father died. Even though you had agreed that same day, you asked him for a few days to clear your head a bit. He accepted, respecting your space even at work, which was weird.

A normal day at work always starts with a banter with this same man right at the entrance of the company and it follows until you enter the elevator. Everyone is already used to it, so they ignore both of you. It mostly ends when you have to get off on the floor where your office is, which is one under the one where all heroes keep their hero costumes and get changed. Of course, sometimes the banter would continue if you were assigned to work with Hero Dynamight through the earbuds that connected you at a distance.

That Monday morning though, was different. Weird for everyone who looked at both of you in shock. The moment you stood in front of the other right outside the company, everyone was waiting for it to happen, yet found themselves opening their eyes wide in surprise as you and Bakugou simply bowed slightly in hello and walked towards the building in complete silence. It followed inside the elevator, where he willingly stood next to you –you always stood on each side of it to avoid even accidentally touching. Nobody could believe their eyes. Especially when it was your moment to walk out on your floor and he said, “See ya’ around”, and you turned your head towards him and slightly smiled, murmuring a timidly, “You too. Take care outside.”

That day you weren't assigned to work with him, nor the two days after –in which these same actions and words were repeated by both of you every morning– yet you could feel the whispers and gossip around about this neutral ground between you two. Your boss even called you to his office to ask if everything was okay.

You internally laughed at the situation. It was so normal for you to fight with Bakugou that everyone found it weird and worrisome if you didn't. It was actually hilarious.

Wednesday shift had you entering the office at 5 p.m. and would have you leaving at almost 3 a.m. –if the hero assigned to you didn't get caught in a villain fight around that time. So when you were about to take the elevator and its door opened, you almost bumped into a freshly showered and already leaving Bakugou Katsuki.

“Oh, hey…”

“Hey,” he answered back. Both of you took a step out of the elevator, standing right in front of each other. One of his hands flew to the back of his head, scratching it and making small droplets of his still wet hair fall as he spoke, “I was, ummm, gonna talk to you today… but, umm, your shift…”

“Oh yeah, it's night shift today,” you nodded, hands holding the strap of your bag, trying to look casual and not let the nerves be shown. “Yours finished?”

“Yeah, tomorrow's night shift for me.”

“I know, I'm with you tomorrow,” you smiled.

His eyebrows pulled up, nodding in acceptance, “Cool.”

Yours frown, tilting your head a bit to the side, “Is it? Since when?” Now that you think about it, all that neutral ground between you two was very weird. New, but weird.

He rolled his eyes, hands hiding inside the pockets of his jacket.

“Since I'm trynna marry y–”

“Shhhh! Shut it, not here!” He smirked arrogantly. Ah, there's the comeback of the old annoying Bakugou.

“I–...”

“KATSUKI!” 

A screeching yell made the hairs of your arms stand in alert, completely unexpected for you. Yet for the man in front of you was a sound he was very familiar with. He grunted, his mood completely changing into anger as he turned around towards the yell.

“The fuck are you doing here, old hag?”

Oh. His mother.

You have seen her at a distance before, never actually got to meet her personally or even hear her voice –you were glad about that last particular fact though, she sounded awful.

You didn't miss to recognize the position Bakugou had you at the moment when he turned around and covered your small form behind his massive body from his mother to even acknowledge your presence there. You're grateful for his surprising and kind of sensitive tact. He's giving you an out from that, what you know for sure was going to be, a quite tense moment.

“I fucking told you, you need to hurry! I’m not fucking waiting for you any longer!” She yelled again, not caring at all about the place she was nor the people around in the lobby.

Bakugou looked to the side, taking a very deep breath before pinching his nose. His hand then hung loosely on the side of his body, but he kept opening and closing his hand in a fist. Oh wow, he was really holding himself back.

You didn't know what possessed you to do what you did or why, but you acted before thinking.

Your hand flew towards his, holding his trembling fist tightly. You knew it took him by surprise, but he hid it well by standing straighter, body still hiding you behind him. You knew for a fact that his face didn’t show any emotion other than anger, so nothing was amiss. His arm flexed behind him, bringing yours with his, as his hand opened and held yours tightly back.

This had been the very first time you willingly touched him. The first time you actually ever touched him at all. And your eyes couldn't leave the sight of his big hand fully surrounding yours, making you feel smaller than ever. I mean, you had eyes, he was a freaking hulk next to you. But the warm feeling of it enclosing yours securely made you feel safe, protected. It also felt calloused, a hand that was used every day to bring down bad guys and protect a whole nation, if not the world. Yet the warmth in it made your whole body tingle.

Fuck. What was this?

“I fuckin’ told you not to come in the first place,” he didn't need to yell, his voice sounded loud and clear even at the distance.

“HURRY THE FUCK UP!”

You tightened your hold on his hand, just to ground him in support. He sighed, returning the gesture to thank you before saying in his mother's direction, “I'm fuckin’ going, you pain in the ass”, and walked towards her, letting go of your hand.

His mother simply turned and walked in front of him outside of the building. She never realized you had been there the whole time.

The moment had been so stressful, and if that was what Bakugou had to deal with every day since he was born, damn. You actually felt sorry for him.

Thanks to the glass walls of the lobby you could watch the Bakugous walk towards the expensive car waiting for them outside. They were clearly shit-talking to each other the whole way, until before they got inside the car, his mother actually slapped the back of his head strongly. Twice.

A rising rage traveled up your body, hands closing in fists. What the fuck?! Who the fuck did she think she was? Why the hell did she need to fucking hit him like that, twice? Why the hell did she do it at all? Fuck, you were starting to believe in everything Bakugou told you about her.

“You get it now, don't you?” Izuku's voice from behind you made you jump a bit in surprise.

You cleared your throat, looking elsewhere and breathing deeply, trying to clear your head. 

“I don't–”

Izuku's hand raised, making you go silent. “Before you come up with a clever excuse, let me remind you that Kacchan and I have been friends since diapers… and we talk to each other.”

His eyeing made you gulp, but his words were clear enough, “You know then.”

He nodded, hand detaining the elevator’s doors so you both could enter, him after you. “He came to my apartment right after and told me all that happened. I was at the funeral too.”

He didn't need to explain anymore, it was more than clear he was talking about last Sunday when Bakugou asked you to marry him. You knew his father had died sometime Saturday afternoon and that the funeral was held that same night. Bakugou had come to your apartment right after his father had been cremated.

“I know you two fight like cats and dogs all the time, but he's not that bad once you give him a chance. And by what you just saw, I know you understand now why he's always on the defensive.”

You sigh. Damn it, you do. Growing up in an environment like that made you think it was actually a miracle Bakugou turned out the way he did.

“I also know that you agreed to marry him to help him be finally free from his mother,” he confirmed out loud once the doors of the elevator closed and it was just the two of you in there.

“Any advice?”

He chuckled, turning his whole body and looking directly at you, “Be open-minded. Kacchan's mouth sometimes opens before he thinks and his words don't mean what he actually intended, but his actions speak louder than anything.”

You rolled your eyes. Ugh, you were feeling the stress already.

The elevator signaled that you had arrived at your floor, so you sighed, nodding in his way as an answer and walking outside. But before the doors closed, Izuku held them for a bit longer to talk again.

“Also… Be smarter.”

“Than him?” You asked confused.

“Than her.”

And with that, he let the doors close, a smile plastered on his face that told on all the mischief his eyes shined with.

This little… cheeky bastard.

The audacity.

You made a mental note to punch Izuku the next time you bumped into him. On purpose.

Throughout the rest of the day, you couldn't get that image of Bakugou being abused by his own mother out of your head. Because yes, it was fucking abuse. And in fucking public! How many times had this happened already? And why the fuck no one had ever said or done anything against it? Even when he was a kid?!

It was outrageous.

And the fact that Bakugou held himself back, because you knew he did, not only because she was his mother but also because she was a woman –and you could bet she fucking used that at her advantage– only spoke about the kind of man he was.

Bakugou Katsuki is a good man.

You took your cell phone out and searched for his contact number, your fingers flying over the keyboard.

You: Make the appointment for this Friday.

His reply didn't take long.

Bakugou K.: Done.

You took a deep breath. The decision was made. And you were not going to back out from it. Or so you hoped.

Another notification made your phone ring and it was another text message.

Bakugou K.: Thank you.

The beginning of a smile threatened to break out from your mouth as you re-read that message several times. Until the loud pip-ing that alerted a villain attack completely distracted you, or more like, brought you back to reality.

The rest of the days went faster than you expected.

The shift on Wednesday ended on time, miraculously. So at exactly 3 a.m. you were turning off your computer and putting your stuff back in your bag. You had several notifications on your phone but didn't feel like giving them your attention at that moment, choosing to concentrate on clearing your space and going back home. You let out several yawns when you got inside the elevator, holding yourself on the handrail, sleep having you on the verge of passing out tired of the stressful days. For some reason, villains chose that week to be more active than usual, which demanded more of your focus and being in constant alert mode.

When the doors finally opened on the lobby floor, you walked towards the check-in clock to mark the end of your shift. You bowed goodbye to the receptionist and walked towards the entrance of the company. For a moment, you entertained your mind with the idea of taking a taxi to get home faster. But damn it, that was expensive, and you were not going to waste money like that. And even if you wanted to, you couldn't.

You sighed, covering your neck as best as you could with your coat once you crossed the doors, and began your walk in the direction you needed to go. It was a very chilly night, but because it was Spring, you didn't expect such cold weather.

You were thinking about how you'd have to resist this coldness until you got home when you looked up and recognized Bakugou's obviously expensive car and him resting against it, arms crossed over his chest.

“What are you doing here?”

“You didn't check your messages, short-legs?”

You denied, head shaking, “I finished the shift and packed everything. Wanted to leave as soon as possible…”

He snorted, shaking his head, “Get in. I'll take you home.”

“Oh, it's okay. I can walk…”

He frowned, “The fuck you think I would be here for then? Get in the car, dumbass.”

“Geez. Okay! No need to get grumpy, asshole.”

You rounded his car towards the passenger seat and climbed in. He followed and got on the driver's side.

The inside was warm, as the heater had been on. You smiled gladly, rubbing your freezing-cold hands to warm them up faster.

“Can't believe you were planning to walk home. Are you stupid?”

You opened your mouth, ready to fire back, but Izuku's words invaded your mind.

“…Kacchan's mouth sometimes opens before he thinks and his words don't mean what he actually intended, but his actions speak louder than anything…”

You thought for a moment, and it was actually easier than you thought to figure it out. Bakugou wasn't actually trying to insult you. He was worried that you would walk home that early in the morning, when the sun wasn't even out yet, in that weather.

Oh. That changed the perspective entirely.

“Yeah, actually,” you chuckled, hands still rubbing to heat them up. “I can't afford a taxi, and the subway isn't open yet.”

He turned on the car, but his attention was on you, “What you mean you can't afford a stupid taxi? Isn't your pay–…”

You denied, body relaxing a bit over the seat thanks to the warmth as he drove smoothly. You liked warm things. Spring was your favorite season because of it.

“Contrary to common belief, Quirk & Training Specialists don't gain much.”

“What?! Why? I mean… Most of the time is thanks to your area that we heroes are fuckin’ alive.”

“Awww. Thank you for admitting it! Now, would you admit that publicly?”

“Of fuckin’ course I would!”

You smiled, “Well, you would be the first one. Tell me, do you think other heroes would willingly admit that their wins sometimes belong to a ghost that tells them what to do or where to go through their earbuds?”

Your words made him close his mouth. Aha. Touché.

You chuckled, “It's okay, Bakugou. It's my job.”

“Now that I think about it, your name is nowhere to be seen in my reports. It's not even fuckin’ mentioned as a sidekick or something.”

“That's because I'm not a sidekick. I'm just a quirkless person who is observant enough to point you the best way to go. I'm not that important…”

“Shut the fuck up.”

You looked at him, trying to decipher what he meant. He didn't mean to insult you, what he was trying to say is, “don't say that about yourself”.

Wow. Izuku was so right about that advice. You made a mental note to thank him the next time you saw him. After punching him, of course.

The rest of the car ride was silent. But not uncomfortable. The gentle sound of the heater turned on was relaxing enough to even doze you a bit, warm and content.

Bakugou didn't speak until he parked right in front of your apartment building. You immediately noticed you had probably slept the rest of the way.

“I'm sorry, I think I fell asleep.”

“You think?” He chuckled, face looking your way. You snorted back, finding his teasing funny. His crooked smile made tingles run up your arms. Or was it the heater? Yes, that probably was it, the heater.

You cleared your throat and looked down at your seat belt and untied it –wait. You didn't remember putting it on. Did he… Did he put it on you when you fell asleep? Oh, my. You gulped, feeling the tingles run all over your body again. Fuck. You needed to leave that small space you shared with this man, like… now.

But before you did, you looked back at him one more time.

“Thank you… for driving me home,” you pulled a rebellious strand of hair behind your ear and smiled. You were indeed grateful that you actually didn't have to freeze on your way home, so you bowed slightly too.

You were about to open the door when he spoke.

“Wait,” you turned back at him and watched curiously as he opened the compartment, taking out a small folder.

He pushed it in your direction and looked expectantly at you. You took it, a bit doubtful, not quite understanding what it meant.

“I said I would sign a contract if that's what you wanted. It's just a draft, but I put some items in there that I want you to check. You can add some yourself. And if we both agree, we can sign it.”

Oh. “Oh, okay… I'll check it out and let you know.”

He nodded in response and you finally got out of the car and ran through the shocking cold towards your building. Inside the elevator, you pressed the folder over your chest. This felt way more real than what you felt earlier when you made the final decision and texted him.

But something tasted a bit… bitter. Was this something you had to do on your own? Like, the marriage was between the both of you. And while it wasn’t one out of a loving relationship, it was still something that included both. This contract thing felt like something you needed to sit down and review together.

You decided then.

Your hand searched for your phone in your bag, and ignoring all the notifications, you directly made the call.

Not one ring later, he picked up the call.

“Are you o–...”

“Did you leave?” You interrupted him before he could say anything else.

“No, I'm still down here.”

“Umm, are you tired? Cause if you are we can definitely leave it for tomorrow, or better said later, but I slept through the car ride so I'm not that tired anymore, but if you think–”

“Cut the fuckin’ rambling. Go to the point, short-legs.”

You sighed, fingers sliding through your hair and pulling it back. “If you want, he can revise this now. I think it's better if we do it together.”

You heard the intake of a deep breath, a relieved one, before he said, “Yeah… Okay. I'm on my way up.” The sound of the car's door closing confirmed he was on his way.

“Okay.”

“Okay.” He repeated and then ended the call.

It took you both three hours and just one heated discussion to come to terms with each of the items. Both satisfied with the consensual agreements, you brought out your laptop and rewrote it. You printed two copies, one for each, that you both signed. That's how the contract was ready and done. Now the next and final step would be the marriage in front of a judge. That Friday. In one day.

“We need two witnesses,” you reminded him, to which he grunted.

“Right, I forgot about that.”

“Well, we already know who you are picking…”

He pulled up an eyebrow, looking in your direction, “Huh? And who am I picking, know-it-all?”

You rolled your eyes, but smiled nonetheless, “Izuku.”

He tched, not admitting it out loud, but it was obvious you were right.

You chose to let it be and not cause any banter, mostly because you definitely felt more tired than a few hours back.

“Smart-ass. Then who are you picking, mmh?”

You shrugged, “I don't know. I was thinking Mina,” his groan made you chuckle, “but I think Jirou would keep a low profile better.”

“Yeah, good thinking.” You nodded in agreement. You loved Mina, and you knew he did too, but she couldn't keep things down sometimes. And one of the items was to keep a low profile throughout the whole marriage thing. Bakugou hated the press and paparazzi, and you weren't a fan of them either. Even though you had never been the center of attention of them, you actually preferred to keep it that way. On the low and as invisible as possible.

Thursday went very quiet and chill, which was very surprising considering it was Dynamight's shift. Sometimes, villains made you think they had a particular masochistic side and loved appearing whenever Pro Hero Dynamight was around. Some of them even loved to provoke him on purpose so he would yell all those obscenities towards them. And they enjoyed it. Freaks.

But not that Thursday. It had been a very peaceful one. It even found you chatting with Bakugou through the earbuds.

“So what now, ya’ gonna fuckin’ tell me Endeavor is better than All Might?”

“Oh, shut up, you All Might-obsessed-freak! I will admit All Might was huge, but you can't deny Endeavor stood his ground and made big stuff too.”

“Like fuckin’ what?”

“The fight with the nomu–”

“HA! Please! That was child's play. All Might took down AFO.”

“Yeah. But it was Deku who won against him in the end, not him. And All Might only fought twice against AFO. Endeavor killed a powerful nomu.”

“You are so fuckin’ blind!”

“You are the blind one!”

“How could you say Endeavor is better than All Might?!”

“I did not say that!”

“Wait– then what did y–?”

“I just said, Endeavor was N° 1 too. He was a Hero too. He deserves a bit of recognition.”

You could hear Bakugou’s snort, “So you like them complicated and misunderstood…”

Bakugou’s malice in his teasing was palpable, yet you always had an answer for him.

“Well… What does that say about you?”

“Oh, shut the fuck up!”

If you had been paying attention to your surroundings, you would have noticed all your co-workers smiling at your cute banter with Bakugou. Yet you were so invested in it, you didn't notice.

Conversations that also led to getting to know each other a little bit more also happened.

“I like orange. You?”

The question took you by surprise after almost half an hour of silence from both ends. Yet, it didn't surprise you at all his preference in color. It was kind of obvious.

“Figures. It doesn't surprise me at all–”

“What the fuck does that mean?!”

“Mine is purple.”

“Why?”

“Ummm, I don't know. I always pictured that if I had become a Hero, my costume would be purple. I decided that even before I knew if I had a Quirk or not.”

You had said it in a conversational tone, never intended to make him feel some type of way. Yet, he still asked, “And is still your favorite, even after–”

“–after I found out I am quirkless? Yes. Why wouldn't it be?”

“Mmmh,” was his simple answer.

The shift ended peacefully and on time, which both of you were grateful for, considering what the following day was.

When the shift was over, you waited a considerate couple of minutes. Minutes it would take the heroes to come back from their shift to the company. Then, you got inside the elevator but instead of going down, you went one floor up.

Your phone rang with a notification.

Bakugou K.: You asked her yet?

You rolled your eyes. So impatient.

You: No, I'm about to. I'm on your floor.

Bakugou K.: Slow ass.

You still wanted to punch him, sometimes.

You put your phone back inside your bag as you walked towards the girls’ wing of the floor, completely avoiding even looking at the boys' wing way. You knocked two times before Ochako opened the door slightly to look who it was.

“Oh, hi, Y/N!”

“Y/N!”

“Hi!”

“Hello, Y/N.”

“HI BABY!!” 

All the girls present that shift greeted you cheerfully, especially Mina. You greeted back while entering the room and closing the door behind you.

You chatted with all of them here and there as they got changed, not an ounce of shyness between all of you. You were friends with almost all of them, having already worked with the majority of the girls and hung out with them many times. You knew almost all about them. Their sleep faces, their ugly cries, their drunk personalities. All of it. And they knew you too. That's why you didn't need to be subtle at all when you said, “I actually need to speak with Jirou for a moment”. Everyone understood and took it nicely as they hurried a bit their way into their clothes and grabbed their stuff before leaving you two alone. 

All of them knew you and Jirou had a special friendship, a close one. She was the one you always went to when you really needed to confide in someone with something deep within you. The same thing was for Jirou. You were actually the first one of all to know when Denki confessed his feelings to her, and even talked her through her own ‘secret’ feelings for him.

“What's up, buddy?” She straddled one of the benches and sat, patting the place in front of her for you to follow.

You sat in front of her crossing your legs under you, your bag actually forgotten on the floor down the bench.

“I'm going to tell you something, but I need you to keep an open mind and listen to it all before you say anything.”

She jerked her head back a bit, already feeling confused, “You're scaring me already.”

“You have no idea…” You sighed and began the tell-tale.

Her eyes kept opening wider and wider with each thing you told her about what had been happening with you and Bakugou these last days.

What it felt like probably an hour later, you finished with, “So, that's why… we are going to get married tomorrow.”

Jirou fastly stood up, almost jumping a few steps back, and pointed a finger at you.

“That's it! That's why you have been so civil to each other! I knew something was up with– WAIT,” oh yeah, you thought she hadn't quite listened to what you just said. But then it came, “ARE YOU FUCKING KIDDING ME?! Y/N!! YOU'RE FUCKING JOKING.”

You shook your head, “No, I'm not.” The calmness and firm tone in which you answered made her sidetrack tons in her own reaction, as she sat back down in front of you and took your hands in hers.

“Honey, it isn't your obligation to do any of this. You know that, right?”

You smiled, the clear worry in Jirou's eyes warming your little heart. You had such a good friend.

“I do. But I want to do this. For him.” You were sincere, and you knew Jirou could see it in your eyes too.

“Even though you don’t like each other??”

“Even though we don’t like each other.”

You repeated, but your tone was decisive. Jirou looked at you silently for a moment, then sighed and nodded.

“Okay… Whatever you choose, I'm here for and with you.” Your arms immediately surrounded her neck in a hug. She returned it gladly, patting your back in reassurance. “And if he hurts you, just tell me. I'll make him pay.”

You laughed amusingly. “I know you will. But this isn't the only thing I'm here for.”

She groaned, “There's more?! I don't know how much my heart can take...”

“Well, will it survive if I ask you to be my witness tomorrow?”

Jirou's eyes filled with tears before it was her turn to surround your neck in a tight hug.

“I'll take that as a yes,” you both giggled, hugging each other tight.

Twenty minutes later you were both leaving the building of the company and you walked her towards the motorcycle parking lot where she had hers.

“I'll text you the location in the morning.”

“Alright, I can't wait for it!” She said excitedly, but then, she looked more intently at you. “I just want to say, this thing you're doing is beyond heroic. You're literally being a Hero right now.”

Her words touched something inside you that made you want to cry like a baby. Something so deep it made you feel like floating away with the harsh galloping your heart made against your chest. It didn't make sense, yet it actually did.

You gulped looking down at your feet, strongly holding back the cry that threatened to be released right in your throat.

“You need a ride back home?” She asked, completely ignoring –for your sake and out of respect– your glassy eyes.

“I'll take her home,” Bakugou's voice in the distance surprised both of you, yet you had been expecting something like this to happen. Something told you he would be waiting you after his shift.

Jirou looked at you waiting for your approval, and when you nodded, she put on her helmet and turned on her bike. You walked towards where Bakugou was standing with Jirou riding next to you, and when she was next to him, she said, “You better take care of my friend, or I'll come for your ass, don't care you're my friend too.”

Bakugou snorted, “I know you will, Ears.” He smiled, pulling down her face shield to annoy her. She punched him friendly on the shoulder before waving and driving away.

“She said yes then.”

You both began walking towards what you thought he had parked his car. “Yep. What did Izuku say?”

He rolled his eyes, “You know he said yes.”

You smiled, “I know, I was just being friendly and asked.”

“Smart-ass.”

“I am really going to punch you again, don't tempt me.”

“Yeah… If that one punch could be considered a punch, it would be ‘again’.”

“Oh, so you do want me to…”

You tried to reach his shoulder, but this time he was fast enough to dodge it expertly. “You really are slow, huh?” He mocked walking backwards and smirking.

“You want slow, asshole…”

He laughed, turning around and running away as you ran towards him trying to catch him.

He was a stupidly fast idiot.

So now, it is Friday, and you sit right next to Bakugou Katsuki. Both of you are in front of a judge who is officially marrying you. Jirou sits on your left, while Izuku sits on Bakugou's right. And you have just finished writing your signature where the bride's one goes. Bakugou has already signed his. It isn't until you put the pen down on the table that Bakugou stops bouncing his leg and breathes in deep.

You want to laugh, finding his nerves quite funny. But you get it. This means more than just marriage to him.

It's freedom.

And you can't even imagine how nerve-racking that must feel for him. After all these years that he had to follow his mother's command and will just so he could follow his own dream, now he would be free.

That in itself brings you such a happy feeling for him.

If anyone would have ever told you that you would be doing this for none other than Bakugou-annoying ass-Katsuki, you would have sent them to a psychiatrist. Immediately.

Fate is a strange thing.

After the turn for the witnesses to sign, the judge says boringly, “By the authority vested in me by the government of Tokyo, I pronounce you husband and wife.”

He doesn't even wait nor expect the newlyweds to kiss or exchange rings as he closes the book and gives Bakugou the previous enrollment you both signed.

And that is it. You are officially married to Bakugou Katsuki.

“Who are you with on today's shift? What time are you out?”

His questions make you come back to reality after a quiet drive toward the company in his car, which you spend looking at the golden ring that now adorns your left hand. When you look up, the shining of the golden ring on his left hand catches your attention as he circles the steering wheel so the car turns on a corner, the company appearing in your view in the distance.

“Umm, I'm with Izuku. If everything goes well, at 3 a.m.”

“Okay. I’ll come pick you up.”

“Bakugou, it’s okay, I can walk home,” you insist for the nth time.

“Bullshit–”

“–Besides, you have morning patrol tomorrow,” you continue, completely ignoring his dirty mouth, “You can’t interrupt your sleep like this every time I have this shift. You need to be awake for your job.”

He grunts, muttering something that you can’t quite decipher what he said. You roll your eyes, thinking he acts like a petulant child sometimes.

A moment later, Bakugou enters the parking lot with his car, to which you look confused at him. Why is he entering the company on his day off?

He answers even before you can articulate your words, “I need to pick up some unfinished reports I have to turn in tomorrow.”

You pull up an eyebrow, untying the seatbelt and getting out of his car once he finally parks, “Wow. Dynamight is lacking on his paperwork?”

“Shut up, short-legs.”

You snort at his lighthearted insult as you walk together inside the company. But right when you both cross the big doors, Bakugou stops and looks at you. You frown confused, he then motions down with his head and you see his hand open, waiting. Oh, right.

Item n°2: Act like we are in a real relationship. The lawyers for the companies always investigate deeper into each hero, so that their status and validation of mental sanity are correlated.

You put your hand over his, both closing on each other, its warmth making those damn tingles run up your arm. But neither of you says anything as you walk through the lobby of the company holding hands.

Everyone who looks opens their eyes wide, one of the receptionists even spills her coffee drink out of shock. You hold yourself from laughing. Another of the receptionists looks you up and down, a clear disgusted expression on her face. Ops. Well, it’s not like you liked her either.

However, both you and Bakugou walk with your heads held high. You know how shocking and out of character the image of you both holding hands like a couple looks. And fast, everything happened so fast. You can already hear the gossip about whatever this is that you might have with Bakugou is way too fast. But you haven’t done everything you did for them. It is for him. As surprising as that sounds, even for you.

He walks with you towards the clock where you have to mark your entrance, never dropping your hand as you do. Then, you walk together to the elevator waiting for it to arrive. As you wait and look down at your shoes, you feel before you actually see his other hand moving, fingers brushing against your ear when he tugs a strand of your hair that had been over your face. Surprised, you look up at him but still smile in thanks.

Bakugou retracts his hand quickly and puts it inside the pocket of his jacket, looking back at the elevator. You would tease him for the little blush his cheeks are showing, but you decide it’s not the moment, considering how all eyes are on you two.

When it arrives and you get in, standing very close to each other while watching how everyone tries to peep inside to see if you’re still holding hands or if anything else happens between you two, you both jolt a bit when a wild and hurried Izuku suddenly enters the elevator, jacket half off and hair disheveled. He also looks in surprise at you two, eyes traveling down at your connected hands. A shit-eating grin appears on his face as the doors of the elevator close.

“Shut up.”

Bakugou and you speak at the same time.

Izuku snorts, hands in the air in a sign of surrender. “Wasn’t going to say anything…”

“I sense a ‘but’...” You roll your eyes, and Bakugou hums in agreement.

The greenette smiles wider, “But I understand now why everyone was looking like they saw All Might in person.”

Bakugou insults him, just because he always wants to have the final say, making Izuku laugh out loud amused. You decide to ignore both of them until the elevator arrives at your floor.

“Don’t blow up the elevator,” you warn them both after Izuku answers back at Bakugou, just to spite him. Your hand gives Bakugou one last squeeze in goodbye before walking out, “I’m with you today, Izuku.”

“Oh, cool! I’ll get connected in a bit.” You nod in his direction and look at Bakugou one last time, smiling and waving.

The doors close and you don’t get to see him smile back at you.

The shift, as always with Pro Hero Deku, is not calm or chill. It’s hectic and dangerous, and it keeps demanding all your focus and senses on alert.

“You know, sometimes I believe you have a magnet for trouble stuck up in your ass…” you hear Izuku spill the drink he must have been probably about to swallow. You chuckle devilishly. Wow, two times in a day you make someone spill their drink, that must be a record.

“Damn. Not twenty-four hours of being married to him, and you are already influenced.”

“Oh, shut it,” you both laugh amicably.

Again, the pip-ing of alert sounds in your computer. You sigh, “Deku, another threat five streets down where you’re at now.”

“On my way!”

“See? A magnet in your ass…” Izuku laughs.

You both don’t get to chat about another thing that is not your job again for the rest of the shift.

At exactly 3:10 a.m. you let out a tired sigh, stretching your arms above you and moving your body from side to side as gentle cracks sound from your backbone. After Deku pushes a villain inside a police car and looks at it drive away for a moment, his yawn that you hear through the earbuds passed on to you as you involuntarily copy the action.

“That was the last one. I’m going back,” you agree with him as you press the option on the system that notifies everyone on the shift that your hero is coming back to headquarters.

“Done.”

“Thanks, Y/N, great work today!”

“You did it all, buddy.”

“Oh, no! None of us heroes could do it without you. All of you, really.”

You frown, a bit surprised. I mean, Izuku is always polite and thanks you after every shift, but today feels different. Like he is purposely saying that, as if he knew someone important was listening to their connection.

“You are… welcome?” You actually don’t know what to say. He simply chuckles.

By orders from your area, you can't leave until Deku’s entered the company back again, so you use that time to finish gathering your things and closing the system.

“I'm back. Wait for me, Y/N. I'll take you home,” not longer than five minutes later Izuku says through the earbuds.

“Oh. You don't have–”

“Kacchan asked me to.”

His words shut you up. But he doesn't wait for your answer as he finally disconnects the communication. 

And you're left there, frozen for a moment, assimilating his words. Bakugou asked Izuku to take you home. He asked his best friend to take care of you, even when he knew Izuku would do it or offer on his own. Izuku always rode you home when you had night shifts together. Bakugou surely knows that. Then, why even mention it to his friend? Why personally ask Izuku to help you? Because… Bakugou didn't enter the company only for his unfinished paperwork. He did it to talk to Izuku. Was this… Bakugou taking care of you because you were married? Or because he wanted to?

[taradactyls]

I think the one I see this most strongly with is Pamela; Or, Virtue Rewarded by Samuel Richardson.

It's hard to read in the modern day. Pamela is a servant girl who spends a lot of time trying not to be raped by her employer, who eventually kidnaps her, and the only other woman in a position to aid her actively helps the attempted rapist to assault her in various ways. At one point she holds Pamela down in bed so it can happen (apparently the woman is this awful because she's an atheist). At another time the employer actively says that he would've continued and actually raped her if she kept fighting him, it was only because Pamela fainted that he stopped the attempt. She woke up from that attempt with her stays (underwear) cut up.

Pamela ends up marrying this man, after realising she has fallen in love with him, who is then 'reformed' by her 'goodness.'

It's meant to be a happy and uplifting tale. Obviously, to us, it's more of a horror story.

We see the victim blame in 'if you'd kept fighting you would've been raped' and also know that being unconscious actually makes you more at risk, and understand that a woman who eventually gave in to her master's advances is not any less 'good' for fearing being violently raped (or worse) if she continued protesting. We are less likely to believe people can be so entirely reformed by the 'virtue' of others, and see a man who would take advantage of power dynamics like that as bad even if he wasn't so aggressive in his advances. There are no real consequences for his crimes and continued harassment of a FIFTEEN YEAR OLD in his employ and who had zero protection or options. It's just all round horrid to our modern eyes.

But in many ways it was actually progressive for the time.

Pamela is a servant who ends the book married (not mistress to) a gentleman with an estate and eventually being accepted and adored by the land owning class. This is a rise of a magnitude far higher than Elizabeth marrying Mr Darcy, Jane Eyre and Mr Rochester, or even Cinderella as she was highborn, and was really making the case that servant women could and do have as much inherent worth as gentlewomen by birth. For how classist 1740 England was, that's a controversial take.

And though it's considered a backwards view now, this was the first novel/work which was really reaching out to lower-class women and saying 'your virtue is worth as much as upper-class women.' I dislike the whole concept of sexual virtue and disagree that Pamela's virtue would be lost through rape, but the point remains that this book was making a case for greater equality between classes in a time where the ruling class relied on being considered naturally better by birth and chosen by god to rule. The novel was criticised for exactly this.

Not only that, but by promoting virginity, he was also championing a woman's right to say no. Pamela's ability and decision to refuse is upheld both positively and as what should have been the final word. The male main character only becomes a 'good' person once he truly understands and respects that. An idea only becomes outdated once the societal framework supporting the status quo has changed, and Samuel Richardson was writing in a time where a servant girl (or any woman really, for instance marital rape wouldn't become a crime for another 250 years) who refused her master's advances would have little recourse or sympathy if he didn't respect that no. This novel was telling all those girls your sexual autonomy is worth fighting for... you're worth fighting for.

And, though we see that Pamela's abuser essentially gets what he wanted and gets off scot-free (an illness and a change of heart isn't going to fly with a judge, you douche), it was revolutionary for the time in that it's told from the victim's perspective as a horrible series of events. These acts, many of which were common place and not illegal (some even actively considered romantic) at the time, was a criticism of many masculine behaviours and championed the woman's/victim's perspective. It drew attention to what we now consider domestic violence and abuse of power. Though we might argue about his methods (a minority of contemporary readers viewed the novel as salacious because of the inclusion of the assault scenes) the author's intent was to actively give moral instruction into proper domestic behaviour. Which, aside from 'sexually assaulting your employees is bad' does also include less radical and actively harmful views such as 'be loyal and loving to your employers no matter what.' Historical novels are a mixed bag like that, but he was still advocating for mutual social contracts towards each other, and rejecting the idea that the rich men who ruled the world could do whatever they wanted. He was speaking for the powerless against those in power.

I'll probably never read the book again, it was too uncomfortable for me, but without an understanding of the time it was written it would feel like gratuitous assault and a glorification of abusive relationships, when really, it was the exact opposite. We're just lucky enough to live in a society where many of his arguments have been accepted both socially and legally for so long that it's hard to imagine a case ever needed to be made in their favour.

tbh nothing frustrates me more then when people brush off classics like pride and prejudice or jane eyre because they don’t fit into today’s modern standards of feminism and social justice etc.

remember that these novels were published in the 19th century. and that some of the things that were written in these books may seem trivial to us today but would have absolutely fucking shook readers in the victorian era

like,,,,,elizabeth rejecting mr collins because she doesn’t love him even though it would have been considered her duty in her family to marry him? or jane eyre not agreeing to marry mr rochester unless it was on her own terms? hell even anne brontë wrote a lesser known novel about a wife leaving her abusive husband with her five year old son to live a better life?? do y’all realize how unheard of that would be in the 1800′s?? where women were considered more of a commodity than actual human beings??

even though they might not be up to todays standards of modern feminism and romance, they were still HUGE building blocks for equality for that time period. so if you’re a reader who says to themselves ‘I read classics with modern standards applied and I can’t get past that’ then you are most likely going to be disappointed when reading classics and not fully understand their significance to that time period 

[dearmyloveleys]

;-; i just wanted to say ty for all your posts in the fof tag. now i'm thinking about ying lei and his yeye ying zhao... and now there is no one left to guard the mountain, but ying lei died in the same way as ying zhao, saving people he cares about

Don’t mention it! I blorb too much about things I really like it embarrasses me at times. I’m just glad you like my takes!! Anyway:

😭😭😭😭 this drama exists to hurt us,, I think more than dying for people he cares about (because nearly everyone who died did that), Ying Lei's characterisation and death provides a unique but tragic pov within the main cast

Ying Lei my poor Ying Lei. We don’t really talk too much about him don’t we. So let’s just talk all about him. CHARACTER ANALYSIS TIME YAY

Ying Lei is unadulterated sunshine and has a good heart. Morally, he is on the same page as the rest of the team. Yet, it absolutely breaks my heart that his fate is to be an outsider within the thematic concern of choice in FoF and resultingly, in the narrative.

His place in the overarching thematic concerns of FoF is unclear when we first meet him - he is simply a wandering half mountain god half demon with a bright disposition. But as with many characters in FoF, their appearances aren't just for naught. Ying Lei's representative theme - the freedom of choice and the ability to choose one's identity - finally shows itself in one of the most beautifully written (am biased) episodes of the series, Episode 17, which is all about choice.

In this episode, Ying Lei vents his displeasure of the Wilderness towards grandpa Ying Zhao

"I hate this place. I hate the Wilderness. It's so bleak and desolate. (…) If I have to stay here forever, I'd rather die. (…) I like the mortal world. I like everything that is vibrant and lively."

To which grandpa Ying Zhao gives him his blessing to head to the Mortal Realm,

"…as your grandfather, I respect your decision. You can be a Mountain God or an ordinary person."

His next sentence cements the plight of many demons (and humans) we encounter in the story,

"For many demons in the Wilderness, their lifelong dream is just three simple words… Have a choice."

These three words all the more juxtaposes Ying Lei's freedom to choose his identity, against every other character who faces this fate of not having a choice.

The Lie Demon, unable to say her true feelings until her moment of death, and Fei, who shares similar sentiments as Ying Lei about the mortal world,

"I'm a beast of calamity, I don't deserve to live in the mortal world. But I really like the bright lights, the liveliness and happiness, and the prosperity here." (Ep 13)

And Zhao Yuanzhou, where even in the same Episode 17, echoes Ying Lei's words,

"If this world gave me life to be manipulated by malicious energy, then I'd rather die."

Same words, but a different way out. Or there isn't one at all.

Ying Lei is the only one whose fate hasn't been carved out in stone for him. Even after Ying Zhao's death, he is still able to leave Kunlun Mountain and rejoin the team because he has the support of other Mountain Gods watching over the temple. He is by no means a pampered and spoiled person but he swims in a wealth of freedom. His bubbly, charming and affectionate personality is a physical manifestation of his unburdened self, unbeholden to any ending, except for the one that he wants.

And yet, he chooses a life with the group of people who never have had the option to choose what and who they want to be. Wen Xiao, the Baize Goddess; Zhao Yuanzhao, the vessel of malicious energy; Bai Jiu, determined to bring his mother back; Pei Sijing, the forced breadwinner of her family's martial heritage. To show his determination to be with this group, he never again dons the mature get-up (full sleeved robes and long hair) - his representation of maturing and accepting his responsibility as a Mountain God - after returning back to the Mortal Realm. Rather, he dons the get-up he first roamed the Mortal Realm with (or similar), metaphorically putting aside all that celestial burden in exchange for the friends that he desires. Just who in the group can as easily shed their very roots and history? His precious freedom to choose ironically makes him the outsider in a group whose only wishes are to be able to choose.

He gets along with the team, but no matter how many times he ties the knot of fate around them, these people were never his fate to begin with. Fate found the rest of them and demanded they be bound. Ying Lei wrestles that rope of fate, trying to get in, albeit with rejection. The narrative demonstrates this:

The team was initially formed without him, and he joined later them of his own accord - his own choice - while the others literally were forced to sign a death contract to be together. In the later episodes, his affection for Bai Jiu is often overshadowed by Bai Jiu's respect for Zhuo Yichen. He also continually tries to get both Bai Jiu and Zhuo Yichen's approval - head pats, anyone? Zhao Yuanzhou doesn't trust him to look after the dragon scale. In their conversation with Bing Yi, their team count is five, instead of six. His closest companions within the team are each other's confidants.

Even at his very end, the narrative still denies him a fate with them. He dies for Bai Jiu who is the only person he loves wholly, and fades away before Bai Jiu wakes from his coma. Neither gets to say goodbye. Bai Jiu who genuinely mourns his death, dies for Yichen. In a story where the cyclical nature of fate runs deep, there is no thread of fate that leads back to him. There is no resolution or reciprocation for Ying Lei's soul and sacrifice. Every thread is cut and never retied, no matter how he tries. Siheng has Sijing left to remember him. Yichen keeps Baijiu close to his heart. Wen Xiao and Yichen wait for Zhao Yuanzhou to return. But no one truly reminisces Ying Lei. The only people to do that are dead.

Ying Lei's tragedy lies in his freedom to choose. In a world where most fate is predetermined and choice is a scarcity, his death is all the more painful as every act is a conscious choice toward an unknown end. He carries a burden after all - the burden of writing his own story. And he braved each step with that brilliant smile of his.

我爱这个世界更多 又如何 So what if I love this world even more? 越平凡越长久 The more ordinary it is, the longer it lasts 月亮跟着我点头 The moon nods along with me 简简单单入梦的人最温柔 Those who step into dreams simply are the gentlest 分不清眼泪和酒 真让人挠头 This inability to distinguish between tears and wine, really makes one scratch their head 月亮和小狗默默跟我走 The moon and a puppy walk with me in silence 岁月从不停留 Time never stops once 少年也不回头 This youth also never turns back 他把故乡和爱留在身后 He leaves behind both his hometown and love

- 英雄不磊落 (Heroes Are Not Upright) | Ying Lei's Theme

[stillness-in-green]

why do you think Deku never tried to talk to Shigaraki? doylist reason is obvious but what's the watsonian reason?

Honestly, this one’s pretty tricky to answer.  It’s very hard to get myself into the headspace of Deku (and the people in his own headspace!)—mainly because I get extremely uncharitable, extremely quickly.  Mainly about Horikoshi, yes, but that does extend to Deku, too, as well as the broader world he lives in.

The brain goes immediately to answers like, “His world is so incredibly slanted towards retributive models of justice that the fact that he even thinks about wanting to know Shigaraki’s motivations makes him a candidate for mad sainthood to the people around him.  The fact that he doesn’t follow that impulse through all the way to actually asking is immaterial; while Villains have to be punished for their actions, for Heroes, it’s the thought that counts.”

See how I’m already drifting back towards meta-narrative analysis at the end there?  Deku brings a lot of that out in me, especially from Villain Hunt onwards.  Like the wooden doll he’s named for, he comes off to me as a vessel for the plot to happen through more than he does a consistently written, well-thought-out character.  Trying to think of him through a purely Watsonian lens—no refences made at all, period, to what I think the story was trying to express or what Horikoshi’s intentions towards that story were—I almost immediately jump the tracks into territory that is all but certainly incompatible with what I was “supposed” to take away from MHA as a story.

But, you did ask, so I’ll follow the thought experiment through.  If I were to try and set down to paper an explanation for Deku’s actions from a purely in-universe stance—say, for writing canon compliant post-series fanfic—what would be my explanation?

(Hit the jump.)

Right off the bat, from a cultural perspective, I think Deku is afraid that if he tries to make excuses for Shigaraki, it would be disrespectful to Shigaraki’s victims.  That’s why you get the heroic characters constant harping on about how they can’t forgive the Villains, even though, as adjuncts to the police, “forgiveness” is utterly immaterial to them doing their jobs.  Too much sympathy for criminals, in some peoples’ eyes, becomes indicative of a lack of proper regard for the victims of crime; this is very much a dynamic in play in Japan’s legal system.[1]  Ochaco initially has the same impulse, where she’s terrified that even thinking about Toga Himiko’s human circumstances puts her in danger of forgetting the suffering Toga and the League brought about.

1: That’s a meta consideration, yes, but one that I think the target audience would understand to be implicit in the canon as written, so I’m treating it as a Watsonian detail.

Ochaco and Deku commiserate and ultimately encourage each other to embrace their desire to understand their respective Villains, which leads to Ochaco talking to Toga at some length!  Ochaco must do this because asking Toga these questions if the only way she has to reach that understanding.  Deku does not have to ask, however, because he has a cheatmode to fall back on: the mindscape shared between All For One and One For All.  If Deku thinks too much open communication with Villains risks dishonoring Shigaraki’s victims, well, he doesn’t have to openly communicate.  He doesn’t have to talk to Shigaraki the person at all.  He just has to find that crying little boy in the mindscape again.

I also think it’s notable that Deku very much does stop talking about wanting to save Shigaraki after he talks to Gran Torino.  From that point on, everything he says about Shigaraki becomes about wanting to understand him instead.  Coupled with the idea that he insists upon not forgiving Shigaraki, I get the sense that what Deku wants is not to help Shigaraki at all, but rather to simply bear witness to his truth.  And even that much feels self-serving to me—as if Deku doesn’t care so much that Shigaraki is in pain, but rather that Shigaraki might have a point, that Shigaraki’s pain might be valid.  Shigaraki having a valid point would destabilize everything Deku believes about Heroes and Hero Society, and Deku has, by that point, seen enough that he’s too upright to look away, to “sweep things back under the rug,” so he has to find out Shigaraki’s story to judge it for himself.

The fact that he feels he has the right to judge Shigaraki’s story speaks to the arrogance of Heroes—the same arrogance that leads them to declare their lack of forgiveness as if it’s in some way relevant to doing the job in front of them—as well as a deeply rooted defensiveness: that they must have, and be perceived as having, the moral high ground over those evil Villains.  I think, for example, of the Flamin’ Sidekickers and their cringingly awkward self-justifications to Dabi about their continued association with Todoroki Enji.  Their reasoning has zero bearing on either Dabi’s pain or their own heroic responsibilities to assist in the arrest of a known murderer/terrorist/arsonist, but they feel the need to spell that reasoning out to the child abuse victim/volatile Villain anyway, seemingly for no in-character reason save to rationalize the deep discomfort that Dabi’s video accusations provoked in them.

Heroes must be seen as morally just—this is the whole basis for the authority they’ve been granted to wield their powers against other people.  Best Jeanist talks about this idea explicitly, as does Police Chief Tsuragamae.  Far more damningly, it’s what led to the HPSC using agents like Lady Nagant and Hawks to quietly dispose of anyone that would present a threat to the public image of Heroes and, by extension, the fragile peace that rests on that public image.

Heroes must be pure and righteous, and Deku is just as apt to believe that as any other Hero—maybe even more apt, given that he’s also had All Might leaning on him about the bearer of One For All being the Pillar and the Symbol of Peace.  All this baggage winds up conflicting, however, with the horror and reflexive need to help Deku feels upon seeing the small, crying child within Shigaraki.

Saving small crying children is the absolute, innermost core of Deku’s personal framing of Heroism—seriously, he says this nearly word-for-word in Chapter 1!—and so, like Shouji says of the heteromorph riot, it isn’t something he can ignore and still call himself a Hero.  He’s unprepared for that personal brand of Heroism to conflict with the demands of professional Heroism, because he never expected to face someone who was both Evil Villain and Crying Child at the same time.  This is what he wrestles with over the course of his time away from UA and why, ultimately, he decides to use the mindscape as a way of resolving the conflict.

(Note again that I'm talking about my fanfic explanation here. Deku's reasoning is much murkier in the canon because of the canon's late turn towards locking us hard out of Deku's personal feelings and thoughts when they're about anything more complex than chain OFA combo moves.)

Remember that Deku begins the Villain Hunt Arc with a tentative desire to “understand Villains” so that he can perhaps use that understanding to avert or at least deescalate conflicts with them—and then the very first Villain he falteringly tries to understand is fucking Muscular, who shuts him down cold.  Deku never tries that hard[2] to understand a Villain again—Lady Nagant dumps her backstory on him with very little prompting from him, he has nothing but ultimatums for Overhaul, he doesn’t seem to ask any of AFO’s other minions any personal questions whatsoever, and with Shigaraki, he goes straight to the mindscape instead of even attempting a dialogue.

2: Insomuch as you could call asking three invasive, judgy questions in the middle of combat and then throwing in the towel “trying hard”.

My take is that Muscular scared him off of trying to verbally uncover the backstories of Villains—even though Shigaraki is ready to all but hand the first Hero to ask an illustrated history of his grievances with Hero Society, Deku can’t trust that anything Shigaraki tells him will be the unvarnished truth.  Unlike Shouto, he has no one to corroborate the truth with, but unlike Uraraka, he doesn’t just have to make the best of it, either.  He can instead utilize the mindscape, an approach that sidesteps all of the issues that a spoken dialogue would entail:

Getting Shigaraki’s truth via the mindscape means he can trust the answers he gets, rather than having to filter those answers through Shigaraki’s warped worldview.  This allows him to honestly evaluate Shigaraki’s perspective, gauging whether Shigaraki has a real point that Deku has any responsibility to address, some injustice that needs to be corrected independently of Shigaraki being held accountable for his crimes.    

Having decided that—for reasons of justice, All Might’s Pillar mentality, and his own peace of mind—he has to know Shigaraki’s truth, Deku comes to feel self-righteously entitled to that truth.  Thus, even though Shigaraki always seemed perfectly willing to share his thoughts in their previous encounters, Deku can’t take the chance that he’ll change his mind and rebuff Deku like Muscular did.  Using the mindscape takes that agency away from Shigaraki, rendering his willingness to share moot.    

No one other than people with access to the shared mindscape can perceive the interactions happening within it.  This means that, no matter what Deku learns or how he reacts to it in the moment, he doesn’t risk being seen as disrespecting Shigaraki’s victims by prioritizing the feelings and perspective of a vicious terrorist.    

Finally, on a tactical note, the encounter Deku has with Shigaraki in the mindscape during the Jakku battle seems to happen nigh instantaneously.  If he can get his answers at the speed of thought, that means he doesn’t have to specifically draw out his battle with Shigaraki until he’s resolved things to his personal satisfaction.  This is ideal, since Shigaraki presents an incredibly dangerous threat to everything and everyone around him, and Deku’s Hero education has repeatedly emphasized the importance of ending battles quickly.

There's just one problem with all this: Deku is assuming access to Shigaraki’s mind.  And why wouldn’t he?  He got in there without even trying last time, after all!  I assume that’s also why he rolls up to the battle with zero plans of any kind: he doesn’t understand how the mechanics of the shared mindscape work and none of the prior bearers can advise him because it’s a brand-new phenomenon for him as the ninth bearer, so they’re just as clueless about it as he is. 

Lacking that knowledge, he opts to simply take it on faith that he’ll be able to access that mental space again, find the crying child in it, and uncover enough about Shigaraki’s history to render his own judgement of it.  He's the Deku who does his best, after all; if it doesn't work, at least he'll know he tried. The good faith attempt, however it turns out, will allow him to satisfy his own sense of justice while not interfering with whatever temporal justice the adult Heroes are planning for Shigaraki—to which Deku fully believes he must be subjected as punishment for his crimes!—be it arrest or an execution broadcast to the entire world.

Unfortunately for Deku, thanks to his being waylaid by Toga, he turns up late to the battle only to find Shigaraki’s psyche sealed up tighter than an All Might-themed wall safe.  Then, since he never had any kind of plan for talking to Shigaraki, and his own ability to plan things is strictly limited to combining quirk abilities on the fly, he has to wing it until Kudou is able to come up with a plan for him.  Naturally, because Kudou is Kudou, and Heroes’ solutions are tailored to Heroes’ strengths, this involves violent psychic assault.  And why not?  It’s not like Deku believes Shigaraki deserves the mercy of a gentler approach.  Just think of all those people he hurt!

Now, is this all heckin’ uncharitable?  Does it paint Deku as well-intended but blindly self-righteous and ethically timid? Oh, for sure.  And I do think there was a point at which Deku wanted to save Shigaraki in a truer sense—indeed, he’s quite plain-spoken about it in the OFA Mental Conference in the aftermath of the first war!  However, it’s absolutely within his established characterization to run into things that make him uneasy and take the first out an authority figure offers him that spares him the work of demolishing and rebuilding his entire world view.  Look no further than the aftermath of the mall scene. You can draw a straight line from Deku taking Tsukauchi's out (that Shigaraki is just a sore loser) to him also taking Gran's (that killing Shigaraki could be a way of saving him).

That’s the mentality I would lean on to explain Deku’s anemic efforts to truly save Shigaraki in the end: an inherent desire to help people that has been hamstrung by a learned dehumanization of Villains, a repeated emphasis on swift, unthinking action as a Heroic virtue, a culture that regards sympathy for those involved in a crime as a zero sum game, and, last but not least, a psychological complex about the basic nature of Heroism rooted in his fraught childhood.

Deku says he’ll “never forget” Shigaraki. If it were me writing the sequel, “never forgetting” would look an awful lot like, “Following a particularly frustrating day of the Pro Hero grind, Midoriya Izuku opens his eyes at 4AM one cold winter night in his early-40s with the horrible, inescapable realization that what he did as a teenager to a deeply victimized young man barely older than he was himself back then was fucked up in ways he can never repair or take back.  And further that now, not only is he going to have to spend the rest of his life trying to make up for that act, it’s going to be much, much harder than it would have been back then, specifically because he did what he did back then and let the world get away with calling it heroism.”

Thanks for the ask, anon! I hope you find the answer interesting and at least somewhat believable, for all that it certainly isn't tonally in-line with the story's portrayal of its much-lauded protagonist.

   

(P.S. On top of convincing both All Might and Deku to not pursue saving Shigaraki in any concrete sense, Gran Torino also takes partial credit for Nana's decision to abandon Kotarou. Torino Sorahiko might actually be the all-time world champion of convincing OFA bearers that preserving One For All is worth abandoning children to their grim fates. Give him a hand, everyone. What a great and admirable Hero who absolutely deserved to survive all the way to the end of the story and who definitely is not a symbol of all the most jaded and cynical priorities of the old order.)

[pyjamaart]

Every time someone complains about Fully Charged Airmans design, my love for him grows even stronger.

I feel like most people are mad that he isn't blue. Like back in 2014 when people complained that Sonics arms were blue in Sonic Boom. But I honestly don't think it's that big of a deal.

But if you see Fully Charged as an alternate universe to the classic series (which it is), then I don't really get why you'd have to complain about Airman not being blue. I think it's good they tried something fresh with the robot masters. They didn't have that much personality in the classic series, to be honest, compared to Fully Charged. I just think he needed a little more screen time to focus on his character. Just like many other robot masters on this show.

Okay, I have to admit, I did change around his colors a bit for a joke that would have gone along the lines of "Just hire fans, lol", but it actually ended up looking pretty cool, so I can't really make that joke anymore……. Really shot myself in the foot with that one. Anyway, here's blue Airman:

I still think that an episode featuring an air race would have been really really cool. They could have introduced a robot master like Gyroman as his rival. Maybe losing that race could have been the start of his character arc where he finally confronts his inferiority/superiority complex. Along the lines of "Flying is all I have left! If I can't have that, what else am I supposed to do?" Well, now that we're already in headcanon territory, I might as well tell you about all my other ones involving Airman. I believe his family is suuuuper rich. All his siblings have well respected careers and probably make his parents buckets of money. Meanwhile Airman is like the youngest sibling who dreamed of becoming a professional racer, which his parents didn't support at all. Kinda reminds me of another robot master under Lord Obsidians command whose dreams were crushed by his parents......

And as we've seen in that one episode, Airmans siblings are assholes. They just pretend he doesn't exist, like he never belonged to their family at all. Like they're ashamed that he's such a failure.

Oh damn that got dark again, sorry. But just like Drillman, he gets better in the end. While Drillman gets Woodman to look out for him, I've had the headcanon for a while that Airman gets taken in by Blastowoman, since she's also a flying robot master like him. Maybe she even gets him a job as a cargo bot alongside herself. I feel like he really needs someone supportive who's not afraid to call him out on his bullshit in his life. And because I have another headcanon that Blastowoman actually has an adult child (Blastman, lol), she's like the perfect woman for the job. ;)

Coming back to Airmans design, I did change some things about it for this particular piece of fan art. When I was trying to come up with an awesome pose to draw him in, the first thought I had was "Damn, I gotta give this man some heels." And that's exactly what I drew.

Sorry for not posting anything for 2 months btw. I got addicted to Metaphor ReFantazio ;) If that doesn't become game of the year, I'm gonna be real mad.

Jenny out.

[glubtier]

This might be an unpopular opinion but: I think it's better that they didn't kiss.

First, the elephant in the room: queerbaiting, which is a term I've seen thrown around. I think Fortiche showed us that they were willing and able to show us queer relationships "going there". So I don't think that really applies here.

Second, the slightly smaller elephant in the room: There are all types of relationships out there and not all of them need to kiss to be valid. Both romantic relationships without physical intimacy, and strong platonic relationships are valid.

But on a deeper level, I think it's important to recognize how much their relationship was rooted in their mutual respect for each other as intellectuals, and being forehead to forehead, mind to mind, is such a beautiful depiction of them coming together in the way they've always come together. For them specifically, kissing would just be A Thing That People Do I Guess. Like, it'd be fine? It just wouldn't have as much meaning IMO.

idk man I have to go through and do a rewatch to put everything together all at once, I just can't help but feel that this is the best ending we could have asked for, in the context of the series. Natch, I'd love for them to hold hands and run off into the sunset and do laundry and taxes together. :') But I think their story is beautiful, not just despite the ambiguity, but because of it.

And while I'm here, I want to say how expert it is to be able to write an ambiguous ending like this that still feels satisfying. That's fucking crazy. And yeah a lot of my reblogs have been centered around doomed yaoi because the tropes are all up my alley, but I think everyone's story is fantastic. Arcane was so good I just can't get over it.

i just need to express my love for this scene.

they literally coalesced in the most beautiful way imaginable. and i've been seeing a lot of people upset with the lack of a kiss. but, this scene should make very clear the love they hold for one another, and i actually enjoy it more without a kiss. touching forheads like this is actually a form of affection seen in the undercity, too. (cry) but what im trying to say is that their destinies are literally intertwined now forever, in every single timeline they will find each other. they were doomed to their own fates to save eachother. and jayce CHOSE to die with viktor, viktor pushed him away. he knew that this was his own end. jayce would rather die than live WITHOUT viktor. I MEAN, COME ONNNN. SOBBINGGGG. all viktor wanted was acceptance. in season 1 jayce would refer to viktors illness as a burden, and viktor in his machine form was his way of ridding himself of all his imperfections, as well as for everyone else. he wanted peace by eliminating human suffering.

but jayce realized viktors beauty in his imperfections. he loves him with them, and showed viktor he was never broken.

and that my friends is HOW DOOMED GAY YAOI SAVED ALL OF HUMANITYYY (and ekko ml) RAHHHH

[loveaurapearl]

Wild Life Mechanics

Hey guys, I was thinking about the Mechanics of Wild Life and the theory that the previous winners create the next game. The first thing I want to say is that while Cleo is a winner and we should respect the queen, it's clear that Wild Life wasn't created by her. While she is chaotic and loves to burn things, Wild Life is not a game she would make. She's pretty level-headed and only burns people's bases if they make her mad. She would not choose the next game to have random effects each session. Scar, on the other hand, is completely crazy and would have the games be so chaotic. Sure, Grian and the other Watchers are the ones who decide the game and how it functions, its clear that the winner has some input on how the game is created. Scar even mentioned in his first episode that he and others suggested ideas to implement into the game. He just wasn't sure if Grian put those ideas into use. It's just funny that the mechanics that Grian decided to use directly relate to Scar and the struggles he goes through. And I will be analyzing each Wild Card that we know of for now. (This will be outdated tomorrow since a new episode will come out. But I don't want the idea to disappear from my head, so I'm writing this now.)

The first session had the Shrink and Grow Wildcard and it relates to Scar's sensation of scale. While Scar is 6 ft tall and has known the feeling of being tall, for most of his time, he's in a wheelchair at around 4 ft tall and thus, he is also small. We saw that immediately with small Scar during Real life. Scar is both a tall man, and also small, just like session one's Wildcard where you can be both big or small. And for most of Scar's session, he tries to be in the middle. Just be his regular, Minecraft self, since he doesn't want to be reminded of relatity.

The second session was about having your food randomized and having to eat things like dirt and rocks. This relates to the fact that... well... Scar can't eat like a normal person anymore. Scar can only 'eat' through a tube and has to constantly make sure the food is mush. He also fantasizes about eating people. c!Scar is a cannibal and so when the watchers changed what he and the other lifers could eat, his brain couldn't handle that truth and just assumed they just couldn't eat. It was only thanks to Grian that he and his team managed to survive.

The third session was the snail and it was pretty simple what was happening. Scar had been tormented by the Snails in Hermitcraft and now they transferred over to the life series. The watchers made them into one-shotters because it would hurt Scar more since he's already not great at staying alive.

The fourth Session relates to the fact that Scar is pretty slow when making videos because of his illness. Scar starts off slow, but once he gets going, it's hard for him to stop. He mentioned tons of times that he tends to forget how long he should be on the computer and thus ends up being on a project for hours. Usually ending some episodes while it's like 1 in the morning for him.

And finally, session 5's gimmick was the Quizmaster, which relates to the fact that Scar is constantly reminiscing on the past. Mostly third life, double life, limited life, and secret life. Scar has been haunting people's posts and remembering the past. He got a good chunk of questions right. It was only the Last Life questions he didn't know completely since he was so sick during Last Life that he had to miss a session because of his real-world illness. Like he knew the horn Jimmy used in Double Life, but he couldn't remember the name because he's bad at remembering names.

Now, none of these gimmicks were meant to relate to Scar. After all, Grian created all the gimmicks. Its just funny how all of these gimmicks able to be connected to Scar. Grian truly is Scar's soulmate. Also, the fact that yellow and red names can kill dark green lives to get health back and has been compared to cannibalism is funny because I can connect this to Scar since c!Scar is a cannibal. He would totally implement the idea of adding some kind of cannibalism into the games. It is my headcannon that Scar was the one who had the random lives and life trade mechanic in Last Life while Grian put in the Boogeyman mechanic since Grian AND Scar both won Third Life. It's just a shame most people, including Scar, don't remember that Third Life was a double victory. So yeah. Scar is the only winner who won two games. Scott doesn't count because he didn't win Double life. He gave up the game to Pearl and she is the sole winner of Double life while Scott got second. Just wanted put idea up.

[sometipsygnostalgic]

Animated Series ending tier list

Okay this is based on a discussion with @j4gm, kim and mifil the other day

These are all cartoons with the exception of Homestuck. I'll admit I don't get invested in a lot of TV shows, even animated shows, so this is limited to stuff I like. Maybe i forgot something but if i did it's probably not worth talking about.

Here's the list if you're interested in building your own.

So I'll go through each item one by one and explain. Yes, I did arrange them based on better (left) and worse (right) for each tier. I'll start from top to bottom so I have the most energy for the better show endings.

I'm rating them both in how they respect the stories of their show, and how entertaining/cohesive they are as a piece of media. To be honest, the former matters to me more than the latter, but some of the shows at the top of this list aren't even ones I particularly like, because their endings were just that well written.

Astonishing

Owl House. This show got better and better with each episode. I don't know, I was blown away by how bad it was at the start and how great it was at the end. And of every item on this list, this one's ending episode had the best pacing. There was lots of room to breathe, lots of reminders of the connections between various characters, and the villain was taken care of in a satisfying way. And we got a beautiful epilogue. The only reason Owl House is in the same tier as She-ra and Gravity Falls, instead of being its own category, is because I felt it had some shortcomings, particularly s3e2 focused on a bunch of characters nobody has ever had any reason to care for, and a lot of the cast don't reach the potential they could do because they lack focus, so I don't have as much emotional attachment to it as a lot of other shows listed here. Anyway here's my favourite moment:

2. She-Ra and the Princess of Power. This is my favourite show on this list because I think it's the most cohesive of the lot. Even though it has a rough start, and often follows cartoon logic, from the very beginning of She-ra to the end it focuses strongly on the same themes. The cycle of abuse and pain and that feeling you will need to earn love, you need to earn the right to exist. It does so with a wide cast of characters, but it's also very good at trimming down to a smaller cast when it needs more focus. There are a lot of good decisions to make sure it worked in the small runtime it had. The ending of she-ra is basically its entire final season. It's one long arc. It doesn't have any major weak spots like The Owl House's final season did, and it has more room to breathe, with 13 incredible episode of about 20 minutes each, more than twice the length. And it delivers on every single character. Every member of the cast gets a moment to shine across the season, yet it isn't so distracted as to pull attention away from Catra and Adora. What makes She-ra's ending a bit weaker than Owl House's is the pacing of the final episode. Heart part 1 and 2, while great, is absolutely rammed, and one of the weaker episodes of that season because of it. You don't get enough room to breathe, you don't get to soak in the characters' emotions quite as much as in the episode prior, Failsafe. But I would count Failsafe as part of the ending. So while season 5's finale isn't even the best finale of She-ra (s3 and s4 were harder hitting), the final season as a whole is incredibly strong. And it's a very entertaining piece of media too! Ugh. I love it.

Here's this powerful scene of Catra whispering and yet screaming to Adora to stay with her, even in the end.

3. Gravity Falls.

To be honest I'm not much of a Gravity Falls fan, so I don't have as much to say as I do about the other two shows, but this ending is highly regarded across the cartoon community. It works perfectly within the smaller scope of the show, bringing a wide, crazy calamity for the characters to work with.

My problem with Gravity falls is Mabel. Not that she's a bad character, but that they don't spend enough time making her a good one. And the ending reflects that - it shows her doing something very major, overturning the world, and that's interesting, but it keeps presenting Mabel's problems as rather shallow instead of focusing on her psychology and why she's making these mistakes. Meanwhile it spends a lot of time on Dipper and explaining and justifying his teenage boy mentality and it drived me crazy how much more of a main character Dipper is than Mabel. Because it's Mabel I relate more to. She's more like I was when I was 12. It's a teen boy's show for teen boys, so I don't like it as much as Owl House or Amphibia. Other than that the ending is a good time and I love the themes of family, I love that Dipper has such low self worth and is grappling with the idea of what manliness even is, facing misguided pressure from other relatives like Stan and Ford. And I love the relationship between Stan and Ford, the mistakes they made, and how Stan ultimately takes responsibility for being an obstructive little shit by removing his memory, taking Bill with him!

Yeah, perhaps this show's ending could've been further strengthened by Stan having his memory lost forever, or having a harder time regaining it. But it makes sense in the stakes of Gravity Falls, where the world resets after every episode even if there was a zombie invasion. I don't see them having Stan forget his great nephew/niece as the ending of the show.

And it has a nice scene with the characters driving off in the bus... Heartbreaking. I love that Stan and Ford go adventuring together afterwards. And I love the theme song.

Remaining rankings below - I think these three should be celebrated most. It's gonna be a shorter summary from here.

Genuinely Good

These are endings that blow you away, but do have a couple nooks and crannies stopping them from reaching the top tier. Another person's list might put them at the top.

Adventure Time Distant Lands: See what's crazy about Distant Lands is that anyone one of these episodes might be the best in the series if it was a different show, but Adventure Time is such a good show that the way Distant Lands is different stands out to me. Like, Together Again, you might think I'm crazy for not putting it above Owl House, but while it's a fantastic episode, really emotional, it's not even my favourite Distand Lands episode. That would be Obsidian which I felt was a more honest resolution to the characters of the show itself, showing the limitless future ahead of the cast instead of what TA did which was demonstrate that Finn really didn't go much further after the end of the show. I felt TA was very limiting in that sense, it contradicted the ending to Adventure Time, which had the strength of "the adventure never ends". Which means that growth never ends. Finn is supposed to be an ever changing character, but in Together Again, he's stagnant.

Other than that, it's absolutely top tier. But not good enough for me to call it the best of the best. Even if I think Finn's character writing was a downgrade, or harmed the main show, I think where DL and TA did better than Come Along With Me is it was actually coherent and had strong themes rather than being a mishmash of random parts of Adventure Time that they wanted to shove in before it was over. It was a better tv finale, one of the best and most emotional ever made, but it's hard to call it a better Adventure Time finale, because AT's legacy hinders on so much more. 2. OK KO: Let's be Heroes: This is a show that went under the radar. It was coming out at the same time as Steven Universe, which was far more popular. So I'll explain it to you: OK KO has two endings. KO has grappled with his alternate persona, TKO, for the entire show. In the first ending, TKO takes over, and starts fighting everyone in a giant tournament. He literally kills all the cast, while KO is struggling to regain control. KO's epiphany is that TKO is a part of himself he buried long ago. KO has always tried to be the sweetest kid possible, so all his rage and fire, all his strength, was neglected and buried. That became TKO. It's similar to the ending of Celeste. They fuse together, but KO is crying because he killed all his friends. So he makes a wish to the God of the Universe to give everyone a happy ending. Then you get a really nice ending montage of all the characters from OK KO having the time of their life. One interesting touch was Venomous, KO's bastard father, had very little to do with KO in this timeline. KO clearly wanted nothing to do with him. But Venomous is shown raising his adoptive daughter Fink and doing a fantastic job. The final episode of OK KO has KO seemingly stuck in time acceleration. Time is flying by, his friends are achieving their goals, leaving the town, way before he can begin to process what he's even doing here. Everything is going faster and faster and it's like he's jumping forward! He doesn't know what's going on!!! But when he explains his plight, he's told... This is normal. This is a normal part of growing up. What seems like time acceleration is just time passing by. Then the rest of the episode show KO going through his life in the same manner. A big gag of the show is KO is age 6-11. That's his age. It's the same as the target audience for OKKO. But you see him grow up. His twelth to fifteenth birthday... 18th to 24th birthday... 25th to 35th birthday... At the end, he's in charge of the Bodega, a full adult looking after runts just like Mr Gar did. I dunno, I felt this was a very meaningful way to end the show. Even if it's not the most emotionally heavy hitting series, even if it's way too short, it did something that stays in my mind to this day. Time goes by in such a flash that you don't notice it was there to begin with, so appreciate the good things life throws at you.

3. The Legend of Korra: The show Korra wasn't particularly great, if I was rating the media as a whole it would probably be at the very bottom of this list. Yes below Star and Homestuck and Kipo. It's not remarkable in the slightest and constantly fumbles.

However I was at the edge of my seat during the series finale in Season 4. I was excited by the conflict between Korra and Kuvira. I loved the metalbending battles. I loved Korra's actualisation, how Kuvira is a very good rival, how their whole conflict plays out with Korra demonstrating such an INSURMOUNTABLE LEVEL OF STRENGTH both in power and character to save Kuvira from her own mistake.

I love how Korra decides to take a break and leave with Asami into the spirit world through the portal she just opened. It was a nice relationship in a show that has so heavily fumbled its prior character dynamics.

And you can't forget how it felt watching this the first time. Afterwards, Bryke made a post on tumblr saying "Korrasami is Canon". You have to remember, this was long before Bubbline was anything more than subtext in two episodes. This was before Steven Universe's "Stronger than You". This was the first time two girls were confirmed to be in a relationship in a kid's cartoon in America. I was so happy. You have to understand Korrasami did a lot of good things and made a lot of the queer representation in these other items possible.

Did the job

These are endings that were OK. They were satisfying but they weren't anything special. They weren't the best episodes or seasons of the series they're from.

Avatar: The last Airbender: I will be honest this show is in a similar realm to She-ra wherein its whole final season is one big buildup to a couple of fast-pased episodes. And honestly its final episode might be better than She-ra's in a pacing sense? But... The simple part is I don't like Avatar as much. I didn't feel particularly strongly about most of these characters. It's a very competent tv finale, with strong scenes - the Agni Kai, and Katara's capture of Azula, are particular strong points. But it's quite long and there are a lot of scenes I don't feel much about, like Aang vs Ozai. Back in the day lots of people were unhappy Aang spared Ozai, and I get that it's not in character for him to just kill him, but it was the original "deus ex machina" for Aang to find a way to get out of it and get what he wanted. It isn't particularly interesting. And then Aang x Katara... I don't care. So yeah ATLA does the job. It's a great final season but I don't care for the finale itself and the characters. while great for the time - by far the EARLIEST show to release on this list - are more childish and cartoony than most. They don't have depth required to compete with more modern cartoons. You've only got maybe two outstanding characters in a tight story vs She-ra's one dozen in a looser story, and honestly I value character more than cohesion because that's what you remember. That's what makes you feel things. Anyone can make a story where things happen but what makes you care? Being a bit harsh here because a lot of people call this the greatest show of all time blah de blah and throw away everything all the other shows do better. But the ATLA finale isn't even in the top ten most interesting episodes of the series. This part went hard though (couldn't find a video of it alone):

Azula starts the scene dominating Katara, and then Katara turns the tables and restrains her using the very ice which fire is supposed to melt, which is mentally destroying for Azula. All she can do is scream and breathe fire when she is restrained, unable to let out all her rage and pain. And Katara spares a moment to witness this, looking troubled, before she runs off to Zuko, attempting to save his life.

2. Adventure Time original ending: Why is my favourite show of all time listed so far down? Why? Well it's because while that AT finale is emotional, hits a lot of themes, it's... a fucking mess. The first part is a war which has only been relevant for two episodes, the second part is a dream sequence which destroy any tension you might've had, and the rest is an unrelated battle against GOLB because we needed a real final boss.

It's a really bad tv finale. And it even does harm to my favourite character in the show, Princess Bubblegum, by making her seem irrational. She's someone who has had the entire series for us to get to know her, to see her biggest flaws and see her struggle to overcome them. So for her to fall back on them yet again, nearly fuck everyone over, with such little buildup and justification and literally throw a child tantrum when Finn interrupts it, it's an injustice to her. She deserved better than everyone thinking she's a fascist forever. The AT crew should have respected their own work on that character better instead of leaving her off like that.

But... even despite these issues, despite being so incoherent? It's a great Adventure Time ending. It makes perfect sense. Of COURSE it's anticlimactic! Of COURSE there's a ten minute dream sequence of crazy shit happening! Of course it's so sudden, things happen so quickly without much time spent to reflect on them! It's Adventure Time! This is what we're HERE for! And the emotional heart of the episode, it isn't really in the Great Gum War or the battle against Golb. It's in Shermie and Beth, and Future Ooo. The fact that the world will end again, but even then.. it's fine. Everything changes. Everything grows. Nothing can stay as it is forever, but letting it go might allow something new and beautiful to take its place.

It's in Jake trying to protect his home, freaking out, and BMO coming in... instead of being looked after, BMO decides to reassure jake, even in certain doom.

It's in Time Adventure. We may not be able to go home, turn back time, relive the past and return to how things were, but... you and I will always be back then.

3. Scavenger's Reign: I felt this show started stronger than it ended. The ending wasn't offensive but it wasn't good either. Honestly I don't have shit to say about the ending, other than that Barry is an annoying stereotype of an autistic character with no agency of his own and it breaks my heart. I liked how relentlessly bad Kris was and I liked Azi struggling to save the day. I liked how her character evolved from being straightfoward and pushing down Levi's curious, kind traits, to embracing those very things in her memory.... while maintaining the strength in adversity needed to challenge someone like Kris. The baby alien thing sure was there. I dunno, the earlier eps with those two hit harder than the ending. The worst part is the sequel bait. We are not getting a sequel. Why is there sequel bait? Seems like the crew were a bit too optimistic for a team of cartoonists working for HBO Max.

But the show as a whole is incredible and has left a strong impression. So, an inoffensive ending is completely fine. I like how everyone is still stranded because of Kris, who meanwhile is dehydrating to death in space because of the organic Levi invasion, and all the people they left behind are chilling in the alien wonderland, learning how to live comfortably.

4. Fionna and Cake: We're now moving into the endings I dislike for one reason or another. I liked Fionna and Cake's themes with Simon and Betty, how it showed a bit more from Betty's side, how obsessive she was with him and he didn't even know.

This does have a weakness though. It removes agency from Betty. It was her choice, in the finale, to sacrifice herself to become GOLB. She was chasing Simon over and over and over again, SHE was the obsessive mad scientist, and she finally achieved her goal at great cost even though could've given up at any time. It was a tragedy. But here it kinda shifts the blame on Simon, even though he was a victim of Betty's obsession. I'm not accusing it of victim blaming, more that I really liked that it was Betty making her own terrible mistakes. It added a lot of character and conviction to her. I don't think Fionna and Cake undermines this much. Kim was a lot more bothered. Besides the Simon plot, the rest is.. ok. It was very predictable Fionna would want to protect the boring, happy world she came from. It fits and it has heart. But it's not remarkable. The ending montage is... weird. Why is Jay and Little Destiny here? Why is Baby Finn here? What about their worlds? Won't they be missed? Did Farmworld Finn fucking die? And the big problem with Fionna and Cake is.. it's such a meanspirited show, even compared with Adventure Time. It relies on you finding tragic shit really funny, like BMO having a horrible gory deeath in jerry. When Fionna and Cake has desensitized me this much, it's hard to feel emotionally invested in this world anymore. It made mistakes by showing too many alternate universes and undermining the world of Adventure Time itself, and I have issues with how Marceline was completely absent from the series - AGAIN - despite allegedly being so important to Simon. It's an outright BAD Adventure Time ending!!! I do love the presentation of Casper and Nova, how it was revealed it wasn't Simon Petrikov but the little Fionna and Cake fan who was able to write the story that finally got through to him and made him realise he needed to stop holding betty back.

"You were a good experience, Simon. Goodbye."

Mistakes were Made

These are the endings that fumbled, disappointed people. They still have value in them but theyre largely disliked by the fanbases involved. I'll explain a bit of why.

1, Arcane: This one just ended last night and is the reason I'm making this post.

I explained a bit here and here, but the issue is: Arcane's a much better show than it has any right to be. It's a league of legends cartoon. But season 1 is so heavy hitting, a tight ship from start to end focusing on the dramas of Vi, Jinx, and the people around them. The main weakness of season 1 was Jayce, Viktor, and Mel. It would distract from the main story in order to focus on them, but wouldn't spend enough time making them compelling characters. Season 2 has this issue tenfold where it seems the scope of the season was so big that it had very limited time to have those amazing scenes from season 1. And there certainly some heavy hitters, like Ekko save-scumming his conversation with Jinx to find a way to stop her killing herself, or Caitlyn and Mel's battle with Ambessa, or Jayce and Viktor yetting themselves into arcane oblivion, but... the finale itself seems very disconnected from the rest of the series, having a generic big bad in Possessed Chaos God Viktor. It lacks any of the intrigue of the Piltover vs Zaun conflict that was so important from s1e1 all the way to s2e4, after which it was promptly discarded in favour of other distractions. And as a result, Jinx and Vi are left as side characters in the ending of their own series, with a lot of their internal struggles left behind. Instead of the tragedy of season 1's ending, we are left thinking of the tragedy of how much better the ending could've been if they had just one more season to give these characters justice.

The strongest episode of the season is probably episode 6. If you know, you know.

2. Ducktales: So if you were a casual viewer of Ducktales you probably had no issues with this one. It's a competent TV finale where stuff happens and all the characters get involved and there are emotional themes.

What's weird about this one, and why it's so far down, is because of Webby's role. Webby is a misfit because she's not a member of the Scrooge family. She's a wannabe. She wants to be part of them, part of the siblings, and she has more in common with Scrooge and Della's brilliance than the other three, but she will never have that blood relationship. Her own parents are dead too, so she has feelings about watching the triplets reunite with their mother.

But in season 3... Ot's like the Ducktales writers were told they only had one episode left to work with and just made something up, and what they decided to do was take the "found family" trope and say "actually it was real family the whole time because Webby was Scrooge's secret clone daughter".

It leaves a bad taste in my mouth. The show did such a good job before this point showing Webby's development as she gets loved and accepted into the family. But for her to have always secretly had that blood relationship undercuts it fully.

It also undercuts her relationship to her grandmother, who tries to move out of the picture as soon as the truth comes out. The show does have Webby embracing her gran to show theyre still family. But we already had this story told in a better way with Webby and Scrooge and the triplets.

The fact the finale has nothing to do with the rest of the season is also why it's so far down. The season 2 finale was pretty spectacular by comparison and had compelling scenes like Della freaking out over protecting her kids and "running to the moon" with them, recycling her trauma (yes a ducktales character has trauma).

If you're not bothered by it, it's an inoffensive, fun finale. But more obsessive Ducktales fans and Webby fans were quite upset, myself included.

3. Kipo and the age of Wonderbeasts

I can't remember much about how this show ended. Honestly that's part of the problem. The first season was far more intrigueing than anything that followed and the whole thing came out across 2020 and it was a forgettable experience despite Karen Fukuhara voicing the energetic Kipo.

What I do remember is being pissed off about some things. Like how a lot of the talking animals were turned into non-talking animals and that was how things ended for them, and no vaccine or anything was made. It pissed me off somehow? Please kipo fans tell me your feelings on this.

I also disliked the final villain. She's a lot like Kris from Scavenger's Reign but even more generic and disappointing.

I dunno, to me the finale represents the wasted potential of this show. How it takes place in a world that rivals Adventure Time's, but Netflix did away with it so quickly, releasing three entire seasons in one year and leaving it with a generic end.

The peak into everyone's futures is nice, but it's not intrigueing like with The Owl House or Adventure Time.

4. Steven Universe: What a hot mess of an ending that threw out so much potential for the wider Steven Universe world. The motivations of the main villains were narrowed down to "we have emotional problems". Steven Universe has a consistent issue where it has emotional scenes at the expense of characters and story.

But I rate this more highly than the SU Future ending, despite that one having perhaps more cohesive writing, because I felt that the SU end had some incredible scenes that carried the spirit of the show while SU Future constantly undermined the original series without providing enough value of its own.

In particular, the scene James Baxter animated of Steven and Steven. This was mind-blowing, it was the climax to the most important part of the story, the truth of Steven's identity and whether he was his own person.

In retrospect that scene brings more value to me than all the bad parts of SU... but SU had so many amazing characters. It's a tragedy that Steven was the only one of them that the show still loved by the end.

Hardest line:

She's GOOOOOOOOOOOOOOOOOOOONE!!!!

5. Amphibia: Season 3 was plagued by being worse than season 2. The opening episodes on Earth were kinda bad, just "Amphibia season 1 episodes but in a far more boring setting". I hated anything involving the secret agents.

The fact Kipo, Scavenger's Reign, and Amphibia all have corpo villains at the end, and the fact I didn't like any of those endings, shows to me that it's not a particularly great thing to add to a fantasy story.

The first sad part is "the magic is destroyed". A popular theme in Disney shows. Well, what happens here is Sasha, Anne, and Marcy lose their magic abilities, and they decide to stay on Earth and lose the ability to travel to Amphibia. It's not massively offensive but it's kind of played out and generic and it does the sad thing of separating the trio from their found family. What's controversial is the epilogue shows that Anne, Sasha, and Marcy stopped hanging out after the end. They just broke off from each other's lives, it was easy as that. It wasn't a lifelong friendship. They do reunite in the end but it's been like ten years. It undermines the emotional turmoil that was present across the whole show. What Matt Braly wanted to show is sometimes things happen. Despite how much you want to be best friends forever... you stop being close to people, you lose touch with them. But this isn't a story that makes much sense when the characters have been through so much together in a fantasy world. It's like Marcy's worst fears have come true, and while that's a point of growth for her, it's frustrating for the viewers who believed the endgame bonds between the characters were better than that.

[Edit: Other than that, a lot of characters weren't delivered in justice s3 with how they had been built up in season 2. Sasha is hardly present in season 3 and Marcy is genuinely not present at all, and when we watched it we really thought they were gonna do more with Marcy when she came back. Swim in that emotional trauma a little bit! But no she's fine even with her evil father figure gone. It could've been better, should've been because season 2 was so stellar.] And I wasn't a fan of how Anne was portrayed at the end. I don't like how these stories make their characters "grow up" in such a way that they come across as love-all hippies instead of having anything resembling their original personality. Where's her sass? Why is she so melancholic and only melancholic? But that's a personal problem I haven't seen many others talk about.

Other than that, it's a competent episode. But it's the ending to a weaker season compared to what came prior.

The cat in this drawing has been my discord icon since we watched it though.

What the Hell?

These are the endings that shat the bed. I hate them! Everyone else probably does too.

Steven Universe Future: Unlike the other endings of this section, I did feel like Rebecca Sugar was going somewhere with SU future. They had a specific goal in mind for what they wanted to do, and every episode reaches towards that goal in some way. That's why a lot of people think Steven Universe Future is better than the more disjointed, huge tv series that came prior. It had a set start middle and end and carried through those themes. Unfortunately, those themes suck. Yeah, it's great deconstructing the impact Steven Universe had on Steven as a character, showing the damage that was done to him, the ways he's been let down. In isolation, it's a great way to show how a difficult childhood can affect you in adulthood, in ways that you would have never expected. This is the value SU Future has. It also has good sections showing how some other characters have recovered, how Pearl for example is healing and far more social than she ever has been but still has a ways to go, and finally talks to someone about her feelings over Pink Diamond, the previous Pearl that served her. Volleyball is a great episode. Unfortunately it takes the wrong lessons from the mistakes of the show. Steven Universe really wanted us to fall in love with its many characters, but it spent so much time showing Garnet, Amethyst and Pearl's flaws, spent so much time showing them failing Steven, that they ultimately came across as incompetent and sidelined. This is an issue with the original show. Steven Universe Future: "You know what? You're right! That was bad!" Me: "So are you going to do those characters justice and show them having growth and being competent and caring for Steven?" Steven Universe Future: "No. We are going to show them BEING EVEN WORSE and COMPLETELY FAILING to connect with Steven!" Me: "... For the entire thing????" Steven Universe Future: "Yes. this is never fixed and Steven leaves the county because of it." Me: "What the fuck?" Even people who were really into the whole thing were taken aback that Steven's kaiju transformation, the manifestation of his deepest fears about himself, was resolved with a hug. Just like the major conflict in the original show. And instead of a meaningful denouement, the show skipped all the resolution and went to Steven running the fuck away in an episode that would've had equal emotional value if it was in season 1 episode 1, or a competely different series. It was cheap and easy to make a bittersweet ending of Steven leaving the city. And it made it feel like the tragedy of Steven's mental breakdown was more important than his healing. Like they couldn't make an interesting story of him getting better because they're incompetent writers. I did like the scene of Steven crying his eyes out after he detransformed. And a lot of scenes in Future did go hard. But the Crystal Gems deserved better. Hell, Jasper deserved better.

Hardest scene:

2. Star vs the forces of Evil: Hooo boy. In the animation community this is HERALDED as The Worst Ending. It is the flagship of disappointment.

It disappointed people who loved the magical world the show took place in. It disappointed people who wanted to see Star reach her potential. It disappointed every shipper of every ship, not that I ever cared for the romance dramas but they took a lot of screentime on the show to its detriment. It disappointed people who like to apply basic logic to the things they watch. What a disaster!

Okay so why is it so hated?

Well, Star had been on the decline for a while. It had a fantastic start to season 3, with a great big war for Mewnie where everyone had great character moments, Star died and came back to life and utterly annihilated the villain. Toffee was a great villain, by the way.

There had been a bit of romantic tension between Star and Marco and they both had crushes on each other but refused to ever admit it and Marco thought he was into some other girl, and Star let him go at the start of season 3 and started dating... her ex... this shitty guy called Tom... he's a good character but a terrible boyfriend who kind of suicide baits Star back into his life. And Star would become a terrible girlfriend. I dunno, people really thought that pairing would be endgame but it was clear to me it was just an artificial obstacle in the way of the inevitable Starco ship. Like Kelly. Who Marco dates for a whopping half an episode before they break up offscreen. Great?

Anyway the romance in this series is on the same tier as Korra, though it does try to build up its endgame pairing from the start.

But from season 3 onwards Marco felt more like a joke character. I don't know, they didn't treat him with much respect.

The thing that EVERYONE TALKS ABOUT with Star, oh god it's going to be the longest thing on this list, is Moon and Eclipsa and Mina and the atrocious decisions the characters made.

I'm going to bullet point it so it's vaguely readable:

Star's mother, Queen Moon, goes missing following the events of the start of s3 special.

Star learns that the throne was stolen from monster-fucker Eclipsa and wrongly given to her own family line so she gives the crown to Eclipsa, to great controversy. Eclipsa is a dark magic user who is 300 years old and she's pretty cool but the show takes a sharp turn from this point to being about a racial conflict - Monsters being discriminated against by Mewmans and how a lot of people want to keep it that way.

The council which was previously on the side of good really HATES this decisionn and is now portrayed as bad.

Conflict breaks out and people are against Eclipsa and her giant person-eating husband leading the kingdom.

People have their homes given back to the monsters that they were stolen from hundreds of years ago. It's a silly cartoon form of reparations but it is shown giving them hardship because they are made homeless. By the way nobody in history has been made homeless because of reparations.

These homeless or disgruntled mewmans find Moon, who has re-emerged and decided to stay away from the kingdom. They want their old queen back and side with her, and she thinks they need someone to represent them. She also hates Eclipsa for various reasons.

Moon decides the best way to deal with Eclipsa is to arm the biggest fascist monster-killing character in the world with an invincible undefeatable army of magic soldiers, and retake the kingdom and go to war against the side her own daughter is on.

Moon gets a surprised pikachu face when she realises she can't undo the spell she used to make this fascist evil super army.

Star decides the best way to resolve this is to delete all magic. Kill it. They go to the source of all magic and use a spell to kill everything there. Lots of reindeer die.

Then every magical thing in the universe gets deleted. Every single magic-born creature. The entire council is murdered. All of the creatures in Star's magic wand die. Countless portals to other worlds are closed down, meaning many of the characters can no longer go and see their friends anymore. This is directly shown, by the way - not just inferred.

Somehow, Ponyhead survives.

Then this is capped off by Marco and Star wanting to reunite... and in a scene that is supposed to be emotional, they cleave their universes together. Mewnie lands on top of Earth. Normal humans are screaming as they are chased around by giant creatures.

The story ends.

Yeah do I have to explain any more why this one was unpopular? It's the biggest fumble you can speak of.

My biggest issue is how dumb they had to make Moon in order to achieve this outcome.

But Starco is kind of cute, even if Marco wasn't half the character he used to be by the end.

3. Homestuck: Which ending do you want me to discuss? Act 6? The epilogues? Or HS^2?

Let's start with the main work, as that's what makes Homestuck qualify as an animation.

Act 6 was a vast disappointment because it sort of ended. We had so much talking for so long that we were hoping something cool would happen and then we got a flash where the characters hit each other with sticks. There were no stakes in Collide, not really.

Then we got the Frog flash. We watched a frog for 8 minutes.

Then that was it!

There were so many unanswered questions. What the hell happened to the final boss and the MAIN CAST, for example. We had learnt earlier in the story that in some point of the future, the main cast all get stuck in a little homestuck house which Vriska fires at Lord English. But we never learn when, we never learn if they're ok, we never learn if English is killed or what happens to Vriska. So for a long time there was this disturbing implication that the cast would all die not long after the series ended.

We had the Credits which were much better but further solidified this implication, and it had Terezi fly out into the void looking for Vriska forever, which made me sad and depressed but that was because of my personal involvement in the story really.

Act 6 is more of a "mistakes were made" ending, but it's the Epilogues and HS^2, and the actions of creator Andrew Hussie, which are why it's rock bottom here.

I don't want to give my breath to those items. Let's just say they were the most meanspirited, intentionally offensive, hostile, character-destroying sets of stories every done, created by people who accused every homestuck fan who didn't like them of being "not really trans" or "pedophile harborors" or "deserving to be lined up and shot" (real quote).

And then the fact Hussie fired his entire crew twice and blacklisted them if he ever had any suspicion they complained about his leadership or financial decisions anywhere.

And the fact the entire whatpumpkin team were left uncredited in the original release of Hiveswap Act 2 because Hussie didn't want to give them any credit because he wants his friends to be a hivemind.

I have so much hatred for what Homestuck became. It's tragic because this series was such a big part of my life for so long.

It's also tragic because the main work is a masterpiece. Even Act 7, despite the criticism, is Guzusuru's masterwork with how much effort went into the animation. How much heart went into each illustration the old Paradox Space team made.

So that's it. Homestuck is the one that is not just a little bit worse than Star. Leaps and bounds worse.

But that's it. I have a lot of opinions on endings because they can colour how you view the entire previous work.

[ethan-acfan]

I want a percy jackson au where percy managed to win Athena's favor, and she ends up becoming his patreon goddess (with Poseidon ofc), and they became begrudging friends

This can even fit in with the new series chalice of the gods, I think, but around the third book, she asks him to do a favor for an acceptance letter except her task is an actual quest (albeit small and less dangerous one). But Percy is kinda drawn to the fact that she actually treats him like a hero and not just some pet to order around because, of course, she would treat him with respect after everything. Granted, she doesn't like it, but 1. He's still a hero who saved the world twice, 2. He fell into tartarus for her daughter. His loyalty may be stupid, but it kept her daughter safe.

And Athena is drawn to the fact that while Percy may be a sarcastic jackass, he is really intelligent and is great at coming up with plans on short notice, also his loyalty reminds her of an old friend from long ago (hint hint, epic the musical crossover percy and annabeth are so odysseus and Penelope coded and I think that would be great here) ANYWAY I think it would be funny to see a strict aunt/adhd nephew dynamic (technically overprotective mil and her daughters sarcastic bf but of well greek god bloodlines are weird) also it would be even funnier if the "quest" was unofficial so she could actually help out and so she is just hovering the entire time to make sure they do it right and percy is like "do you mind?" And she's like "yes, I do actually."

So someone should write this since I'm already busy working on two other writing projects, one for Estelle and one for Nico

[gunilslaugh]

The Truth

Hello my lovely dear readers,

Have you missed me? I’ve had some thoughts about coming back recently cause I miss writing fanfiction more than I thought I would. However, thinking about coming back has had me reflecting more about why I left. 

In my goodbye post I said it was because of me not feeling comfortable writing fanfiction about other men in a romantic way when I have a boyfriend now. That is true and was ultimately the deciding factor in me stepping away from my blog. I did leave some other information out of my goodbye post though. That information being that I had been thinking about ending my blog before I even started talking with my now boyfriend. 

Truthfully writing fanfiction began to not feel fun anymore. This feeling actually started when I made my side blog @twinklingstar1ights I thought that opening up that side blog would help bring back the joy I had for writing fanfiction and at first it did. It felt refreshing to write for more groups.

However I felt like my main focus had to be on gunilslaugh. I felt the need to upload for my followers. Especially since there aren’t many writers for Xdinary Heroes. I didn’t want to let you all down by putting writing for the heroes on the back burner. This is where I made a mistake that led to me feeling burnt out and losing motivation to write. 

Another factor that led to me wanting to step away was some of the reception to my works. It seemed like all works that I was actually proud of and liked flopped and works that I lowkey hated did really well. It felt discouraging. I get and respect that people have different tastes, but when I posted works that I was so excited to post only for them to get such little reception it stung. Like I wanted to know what was wrong with them. Why didn’t you guys like them? I know that I shouldn’t have gotten so caught up on numbers, but it was hard not to. 

Maybe I was too in my own head, but I started to feel like my engagement with my readers was low. My works would get a lot of likes, but that kinda felt like it. They hardly got any reblogs and even less comments. I feel really pathetic for complaining about this, but it kinda felt like you guys didn’t want to interact with me. Like the last q&a I did, only one person sent me questions. I wanted to be a writer that had really good communication with their readers. I wanted to interact with you guys. I will take this time to acknowledge those who did interact with me cause you all were my favorite. I got excited when I saw your guys' usernames or emoji anons. 

My Villain Xdinary Heroes series got the most interaction. People left comments and anons sent in messages telling me how much they liked them and were excited for the other parts to be posted. That was probably my happiest time as a writer. Although that being said after wrapping up Villain Xdinary Heroes fics those interactions went away. This was probably me overthinking, but it made me feel like my works weren’t as good anymore. Obviously I don’t expect high interaction rates on every post I make. Yet for some reason only seeing like after like began to feel disappointing. Again I feel really stupid for complaining about this. Like who complains about getting likes? 

Writers spend hours creating our works and only getting a like button hit just kinda feels like bare minimum I guess if that makes sense. All those posts about Reblogs>Likes is so true. Reblogs make writers 100x more happy than a like does. Don’t get me wrong I still appreciate all the likes my works get. It’s just like a said hours go into creating works and a like button takes a second to hit and it’s not as personal as a comment either. I loved hearing you guys’ thoughts and feelings about my works. 

When I was writing the last of my requests before ending my blog they were just asking for their request. Which is fine, that's what a request is. However in the past you guys would compliment me or ask how I was doing, say that you hope I was doing well. I got to have that bit of interaction that I wanted with my readers. Seriously a “Hi, how are you?” or a “I hope your day is going well :)” on a request would make me so happy. I kinda didn’t realize how much I liked it until it wasn’t there. This is again I feel really pathetic for complaining about, but I want to get my truth out there. I want you guys to know all the factors that lead to me making my decision to step away. Cause in my goodbye post I basically blamed it on my relationship. The reason I did that is because as I previously stated these other reasons make me feel pathetic. That these small things grew to bother me so much.

I think if I look back to when my struggles with my blog started was when an anon sent in a request saying that they thought I wrote Gunil duller when compared to the other members. I just deleted that request cause it felt a bit back handed. Like they said that they thought I wrote Gunil dully then proceeded to request something. I understand constructive criticism, but this did not feel like that, it felt rude. It got me paranoid too. I went back to my ot6 works to reread them to see if it was true. Because if it was I wanted to fix that obviously. It was never my intention to write him dully if that’s how it came across.

When I write ot6 works I start with Gunil first, so in a way he’s the “icebreaker” to get my ideas flowing. Which could result in his part not being as detailed as the others, but I never wanted that to happen. My blog is named after him for peats sake. I love the guy (and his laugh). Anyway that comment just really got in my head despite trying to brush it off. 

Speaking of ot6 works. I mentioned it before but I actually prefer writing member x reader works, but most of my requests were ot6 works. Again this falls into my taste not exactly aligning with my readers. I was putting out works that I didn’t necessarily feel like writing, but I didn’t want to disappoint you all by not writing your request. It felt like what I wanted to write wasn’t what you wanted to read. My need to please my audience out weighed writing what I wanted, which again ultimately led to me feeling burnt out. 

So yeah even if I put my relationship aside I feel like the end of my blog was still coming. Writing for it was beginning to feel more like a chore than a hobby. Like I stated at the beginning of this long spiel I have thought about coming back. I would definitely be different than before though. I thought about combining my side blog and my main blog to just be a multi-fandom blog or maybe I would keep them separate, but not have my focus be on gunilslaugh. I would just write about who I want, when I want, not stress about having a fixed writing schedule. If I came back it would be like starting fresh. Gunilslaugh 2.0 Honestly I even thought about just creating a whole new blog, starting completely afresh. 

All this being said I still don’t know about coming back. I just felt the need to share the whole story with my readers since you guys have given me so much support. I’m sorry if anything I wrote in this offends anyone in some kind of way or made anyone feel bad. That’s not my intention I just want you all to know what I’ve been feeling, what has been on my mind. Why I made the decision I made. 

Sorry that this was so lengthy I’m done yapping now. Thank you for taking the time to read this. 

Maybe we will meet again in the future, stay happy and healthy. 

Gunil’s Laugh <3

[merp-blerp]

Gaylor/Kaylor and Oz: Parallels and Theories Vol. 2 🌼🌈❇️

CW: Spoilers for L. Frank Baum's Oz book series (books 1-15). And this post is very late-stage-Kaylor-specific, so if that's not up your alley, that's chill.

Vol. 1 Here (I recommend reading Vol. 1 before this one)

Overblown Analysis Under the Cut ↓

AH! I'm so ecstatic that I get to make another one of these so quickly! I was so proud of Vol. 1 and I'm so happy there's new material to explore! Thank you very much for the reception to Vol. 1, I'm so glad people liked it. It's cool to see other people who probably didn't even see my post seemingly make the Return To Oz connections as well. It makes me feel "smart". 😅

Part 1: The Tin Woodman ❤️🌈

Let's start out with something small and old news. A theory that's new to me is the Tin Woodman's role in gaylor theories (He's very specifically called "Tin Woodman" in the books, not Tinman, so I'll call him by his book name so as to not blur the line of exactly which version of the character I'm talking about). This collage by iateallthecat2 on Twitter (from this post) brought it to my attention:

I'm not sure if there's already some in-depth theory that goes beyond this collage out there, so I'm gonna wing it from here based on my own Oz knowledge.

In the "ME!" MV, Brendon Urie's character is a suitor that Taylor rejects. They fight when inside a house and she rejects his proposal, but when he gifts her something with no general romantic meaning, a cat, they spend the rest of the MV having a good, platonically-coded time. Brendon plays someone who wants to play the role of Taylor's partner, but they seemingly work better as buds in their rainbow haven.

I have wondered if Brendon is supposed to be playing a beard who Taylor tries to take to freedom with her in this MV, but I'm admittedly slightly apprehensive about the idea. It would be kinda cool if one or more of Tay's beards also came out with her whenever she does. This plotline seems very similar to the suspected "she ghosted but kept the castle" narrative. In both Taylor rejects a proposal, except here Taylor and her beard seem more connected. It makes me wonder, if everything had gone to plan, would the narrative in 2019 have been that presumably Joe would've proposed and Taylor would have rejected it but they would've been on friendly terms. Or maybe all of that would've happened to Karlie and Josh in a way since they were married in 2018. Or maybe it would've happened to both of them. Then they would've been able to build a narrative for Kaylor as a couple that didn't involve saying "We hid this from you for this long". But that's spitballing.

Either way, Brendon is definitely someone who helps Taylor along her "story" as he infamously put himself:

Everyone knows that the Tin Woodman helps Dorothy on her journey, but he also helps out Ozma/Tip on hers in the second book and so on.

In the first book, the Tin Woodman's backstory is that he was once a human named Nick Chopper, who was engaged to a Munchkin girl named Nimmie Amee. While Nick seems to respect and love her, he also seems to only be engaged to her because he doesn't want to be lonely after the death of his parents, at least to me. But the Wicked Witch of the East curses Nick to chop off his limbs whenever he tries to chop wood. He gets these limbs replaced with tin parts until he is fully tin. But his body no longer needed a heart and therefore he felt no romantic love for Nimmie Amee, so their relationship fizzled out.

Whether he ever romanticly loved her in the first place is debatable in my opinion. I personally don't think he did, especially since long after he's gotten the realization that he had a heart, Nick never really tries to romanticly pursue Nimmie Amee again, but he does tie loose ends with her in The Tin Woodman of Oz. However, my point is that Nick seems to only want Nimmie when he thinks she can fill a void. Once he thought he was too broken for her to fix he subconsciously realized he didn't actually love her, but interpreted it as though he just "stopped" loving her.

To put it simply, I see Nick as practically going through comphet before finding true fulfillment in the things that come after he's un-rusted. My personal interpretation of Nick is that he is a gay man, unbeknownst to him, who tries to find love in a woman, but it inevitably doesn't work. He loved Nimmie because he hoped she could fix his pain. There's no way to prove Baum meant Nick to be seen this way, but queer interpretations of Nick are common in modern Oz fan circles. Somewhat like Taylor and Brendon in "ME!", Nick and Nimmie try to play the roles of a couple, but being a couple just isn't in the cards for them, so they keep things platonic.

In comparison, Nick loves the Scarecrow for the actual companionship he gives. The Tin Woodman states that he no longer needs Nimmie's love, as he has the Scarecrow's. The Tin Woodman and the Scarecrow are pretty similar to Dorothy and Ozma in terms of being queer-coded in their relationship. They live close to one another because they're sadder apart, cordially debate philosophy, rule Winkie Country together, and are often depicted comfortably in each other's physical space, among other wholesome details.

The physical representation of the Tin Woodman's heart is made of a velvet pouch and sawdust in the books, but in the '39 film Tinman's heart is a ticking clock with daisies stringed to it. Of course, daisies have a great significance to Kaylor because of the Big Sur trip. And clocks have been having a significance in Taylor's art since "The Man" and the Karma wall.

I don't necessarily think Karlie, Taylor, or Brendon are represented through the Tin Woodman, Nimmie, and the Scarecrow in Taylor's art in a literal sense. I see it as just another queer piece of the puzzle. Brendon might not literally be the Tin Woodman in Taylor's art the same way Karlie is Dorothy, but I think he at least played him during the Lover era. Brendon/Tin Woodsman helps Taylor/Ozma through her journey to where she belongs like a queer friend helping another queer friend.

Also, I'll leave this section off on this reach cutesy note:

Part 2: Ozma and the Wizard 🌺🪄

Back in Vol. 1, I suggested a theory that if Karlie Kloss was represented as Dorothy Gale in Taylor's music, then Taylor was more subtly represented as Queen/Princess Ozma. I've been seeing another theory around about Taylor being the Wizard, aka Oscar Diggs. I also really like this theory and I think it can make sense for both theories to exist simultaneously.

The Wizard is an illusionist. In the first novel, when appearing to each of Dorothy's friends individually he appears as something different to all of them. To Dorothy, he is a giant floating head, to the scarecrow he is a fairy, to the tinwoodsman he is a beast, and to the cowardly lion he is a ball of fire. He is able to change himself into anything he pleases, but he has no real magic. In order to rule over Oz unrightfully, Oscar Diggs stole Ozma away as a baby and gave her to a witch named Mombi, who transformed Ozma into a boy named Tip, disguising Ozma from everyone and herself; in the second book, Ozma is transformed back to her true form and takes her place as ruler of Oz, eventually ruling with Dorothy by her side. To make a long story short, Ozma and Dorothy eventually forgive Oscar for his crimes.

I see Oscar/the Wizard as representing Performance Taylor, while the real Taylor is Ozma. The Wizard is from Kansas in the '39 film and performance Taylor is currently associated with the Kansas City Chiefs. Performance Taylor, just like Oscar, is able to change himself when needed and isn't the unstoppable being his citizens once believed in despite never meeting him. Just like Oscar, Performance Taylor is an illusionist who appeases the citizens with theatrics to hide the truth for the time being. Performance Taylor/Oscar hides the real Taylor/Ozma away. Real Taylor/Ozma, when seen, is forced into the shape of a boy, Tip/James, Peter, the Man, etc. But soon Ozma reclaims her land and keeps the castle Oscar took, and so might the real Taylor.

If you believe Post Malone is playing a side of Taylor in the "Fortnight" MV, Taylor seems to be depicting herself as coming together with both the public and private parts of herself. Previously in MVs for songs like "...Ready For It", Taylor was always at odds with her clone, but in "Fortnight" they team up to get out of the asylum. Ozma and Dorothy make amends with Oscar and Taylor makes amends with herself.

Part 3: The Yellow Brick Road and The Emerald City 🟨❇️

I think a lot of us know about Taylor's Instagram grid currently aligning with yellow outfits from Eras at the moment:

Typically when Taylor's Instagram grid aligns like this it means something. The most common theory as to what this might mean is that Taylor is creating a yellow brick road. Yellow is often seen as the closeting color in gaylor circles for various reasons, such as the Evermore closet in The Lover House being filled with yellow clothes. Some fun estimates I've seen are that soon the alignment will be broken by some type of photo of Taylor in a green outfit post-Eras, like maybe a green outfit from tour in her Toronto thank you post or even her birthday post. The big hope right now is that this hypothetical post in a green outfit will signify Taylor's coming out being near, having reached her destination to the Emerald City, or that this green outfit post could even be a coming out post. My Oz-ian brain loves this idea! The yellow road to being free in the green, the color right after yellow in the rainbow.

In the first Oz book, the Emerald City is a huge hoax. It's not Emerald at all, but white. In order to trick the citizens of Oz into thinking that the city is emerald, the Wizard forces everyone to wear green-lensed spectacles that lock on; they are what make the city look green, the Wizard lying that they wear them because the brightness of the city would blind them if they didn't. Dorothy is given a "green" dress when she arrives in the Emerald City, but when she leaves it reveals itself as actually being white. After the first book, the Emerald City becomes truly emerald; from what I can remember there is no exact canonical reason as to why this is, so I theorize that the citizens just made it emerald after the wizard floats away in his balloon. The Emerald City truly being white represents the fakeness within the rule of the Wizard, but by the time Oz has its rightful ruler, Ozma, the city is truly Emerald. For TTPD and most if not all of Tay's discography, the colorless world represents the abusive music industry and closeting, but color represents Taylor's freedom, reclaiming the land. Also, the fictional Emerald City was inspired by the real-life White City Amusement Park that was once in Chicago, so there's that connection to white too. Green and White together remind me of Taylor's green band jacket in the "ME!" MV and her white band jacket in the "TSMWEL" performance from Eras. Symbolism-wise, Taylor thought she was close to reaching her destination when creating Lover, but the smallest man ruined it all and the emeralds were fake. Now she's about to go down the yellow road once more to get back to her emerald kingdom.

To expand on the colors of Oz a bit more, let's look at the house from "ME!"

Here's an official Oz map in case anyone finds it helpful:

This house in "ME!" is the starting point in the MV and the first room that we see is blue. Blue is the color of Munchkin Country in the Oz books, as every Oz region has a color. Munchkin Country is the first land of Oz we ever see and the starting point of "ME!" is blue just like it.

Then Taylor walks through a hall with blue walls and blue and yellow tiles on the floor. On her first trip to the Emerald City, Dorothy exclusively walks through Munchkin Country to the Emerald City, so the tile being blue and yellow signifies that this is only the first journey to the Emerald City.

The next room is a large green one. The Emerald City, right?

But when Taylor makes it out the front door, the house is white with some purple. Not the true Emerald City. Purple is for Gillikin Country. When Ozma is kidnapped by the Wizard of Oz and given to Mombi she lives in Gillikin Country as Tip. The Emerald City is (partly) white, Taylor's in her closet yellow, Ozma/true Taylor is dressed as a guy, and Ozma/true Taylor is yet to rule.

But finally, later in the video when Brendon and Taylor are on platonic terms, they run up to a massive green building with a rainbow beaming in front of it as they wear green clothes. I think this was intended to be the true Emerald City. The pink soldiers around it even look like the poppy field. I think it's notable that in the MV Brendon and Taylor run up to the Emerald City, but we never see them enter. I take that as acknowledging that Taylor wasn't there yet. "ME!" was not a coming-out video, it was a sprint toward that goal. So she wasn't inside the Emerald City quite yet, she was on the way, ever so close. However, as stated before, the smallest man ruined things, so this was retconned through Eras. However, if Taylor got to come out during Lover this would've been the final stop.

I was thinking that it would also be crazy if instead of a photo in a green outfit, we got one in red. In relation to Oz, red is Quadling Country. In the first book, it's the last place Dorothy journeys to before making it home. It's also where she meets Glinda for the first time (Glinda is the Witch of the South in the books and a different witch is the Witch of the North). Glinda is the only one who knows the real way to get Dorothy home, her silver shoes. So red would also be an interesting choice in this scenario, but green is definitely the more culturally recognizable choice.

I want to acknowledge the "Goodbye Yellow Brick Road" connection I've seen around, even though I don't think I have much to add to it. The idea is that Elton John's song "Goodbye Yellow Brick Road" has thematic parallels to gaylor. This idea that Taylor could leave behind a toxicly ritzy world for something better. Elton is an openly gay man in Hollywood who had to deal with a lot of silly Hollywood games regarding his sexuality. The way "GBYBR" is used in his film Rocketman definitely depicts Elton deciding to fix his issues brought on by the industry's abuse. Could this be what Taylor's about to do herself in her own way? Leave behind the yellow cedar closet for a life that's true to her? Taylor wore this outfit that already had plenty of Kaylor tie-ins like the twinning Carolina Herrera fit and the panther necklace, but her shoes match the ones Elton wears in the "Goodbye Yellow Brick Road" album cover as he steps in or out of the Ozian picture.

As an extra fun tidbit, let's work some Oz history into this! It is a commonly told story that L. Frank Baum's inspiration for the yellow brick road comes from a real road in Peekskill, New York. The myth is that Baum asked for directions to the military academy and was told to "Follow the yellow brick road." Even though this exact story is likely just a myth, it's certainly not unlikely that Baum saw those yellow bricks. While Peekskill is not New York City, of course, New York City has a big significance in Taylor's music. In "WTNY" she views it as a place where anyone can be free. New York City could be its own character in her music. If New York City is freedom it could be seen as an equivalent to Ozma's Emerald City. Peekskill isn't where the city is, it holds the road to it and freedom.

Conclusion 🌼

Again, it's so cool to have more to add on to this Oz theory. I admit that it feels a bit vindicating that I made Vol. 1 and in due time we got more Oz crumbs. Wow, can't believe Taylor saw my post. In all seriousness, this has been so much fun. I know there's the possibility of yet another part to this. If you feel like I've forgotten anything, let me know! Can't wait to know what's on the horizon!

[kingdom-stars]

Something, something, throwing up 'bout my AU all over the page, something, something(?).

Wright & Co. Family bussines

So, this past year I've been thinking about an Ace Attorney AU. Nothing original, just the tri-color trio (Apollo, Athena and Trucy) in the original trilogy

You'd think it'd be the most common AU, but I've seen surprisingly few of them

(Unless I haven't searched well, in which case, post links👀)

So I gave myself the task of making one, because if you want something to go well you do it yourself :V

Clarifications before starting:

This OBVIOUSLY has spoilers for both trilogies, so I'll put a cut here

I decided to move some important moments to fit into the AU, such as:

The trial where Trucy's father disappears was taken by Mia and was for the accidental "death" of Thalassa, he is declared innocent but leaves Trucy because he does'nt think he's a good father to her. Phoenix's last case will still pass and Shadi will still be accused of murdering Magnify Graymare, but Trucy will not be the one to give Phoenix the note and she'll not recognize her father (but Phoenix will)

Simon's trial will pass two years before canon. Phoenix, blessed be his heart, adopts Athena because she has no one else and her relatives in Europe have not been brought up yet

Apollo will be found by Mia while she searches for some other relative of Trucy's and tells Phoenix, who immediately contacts child services to make the adoption

Apollo and Athena decide to keep their last names, Trucy is the only one to change it to Wright, but the three are comfortable with being called by Phoenix's last name

Nothing related to the newly formed Wright Family, Edgeworth decides to adopt Kay after Turnabout Reminiscences, just as he adopts Sebastian after Turnabout for the ages (I just saw that's the official name for The Grand Turnabout and it's DOPE AS FUCK)

Some other things:

Apollo will be 12 in this AU, as that would be the age calculated for this point in the series, Athena would follow with 7 and Trucy with 5

The three of them will reference their respective backstories, Apollo having knowledge about the spiritual channeling thanks to his time in Khura'in, Athena missing her mother and paying attention to Phoenix to become a lawyer and save Simon and Trucy having vague memories of when her mother was still with her

Apollo will have a tendency to use his Chords of Steel™ when he gets nervous and will switch to Khura'ines

Athena would still use the sound canceling headphones (or emotions, whatever) but as the story progresses she will take them off more and more

By the end of the second case, Trucy will start wearing the blue cape

Maya will be a kind of aunt/older sister, Pearl will be the cousin that no one can get angry with and Kay the bad influence gremling cousin(?)

Larry, Gumshoe and Edgeworth will be the ✨Cool Uncles✨. Gumshoe and Edgeworth will take a while to get there for obvious reasons, but they will

Each final case will be in some way related to the three children. This would be with Athena

Without further ado, let's go to the first game!

Phoenix Wright: Ace Attorney

The first Turnabout:

There's not much to change here. Character introductions, dynamic statements, the odd clue about the children's talents and little triggers for Phoenix, but small ones, small ones

Turnabout Sisters:

Slight changes but nothing significant. Apollo's discomfort with the Kurain channeling technique is mentioned for being similar to those of Khura'in, Trucy is the one who notices the butler's lies, Athena hears April May's fear of Red White, Red White attempts to blackmail Phoenix out of the case by threatening to take the children away from him, and Apollo testify on Phoenix's behalf, Phoenix has major triggers here

Turnabout Samurai:

I don't know what I would change here. Gumshoe being rude to Phoenix and Trucy defending him, Maya dragging poor Apollo into fan conversations with Cody and Phoenix bringing up the issue of Dee Vazques' threat at trial, on a separate note, Edgeworth finds Trucy in the prosecution lobby and returns her to Phoenix

Turnabout Goodbyes:

Ohhhh boy, this is the one. Kay makes her debut introducing herself as Edgeworth's daughter/assistant, she is the one who asks them to represent him to Edgeworth's mortification and will help in the investigation with Gumshoe, the three children catch Edgeworth's desperation for this case which makes Phoenix more determined to help him. This is practically the final case for Athena, she sympathizes with Edgeworth's earthquake phobia, she hears von Karma's true intentions but doesn't know how to explain them, she is inspired by Phoenix's story of how Edgeworth and Larry defended him as a child and how that act made him become a defense attorney and decides to do the same for Simon, she feels a strange understanding in not wanting to believe that she killed his her father mother (the black psycholocks sound), she stays by his side when he makes the last testimony and explains his nightmare, even going so far as to grab his hand to give him strength and shout at Von Karma in the face when he tries to ridicule them, when Von Karma's breakdown occurs he tries to attack Athena in the purest Tronchatoro style and then she is saved by Edgeworth. In the end she starts calling him Uncle Edgeworth

Rise from the ashes:

Oh yes, the DLC case, I almost forgot. Apollo and Trucy go full on Gant and his tics, Ema and Apollo bond (no Ship here, just friendship), Athena jumps into full scolding when she sees that Edgeworth wants to resign as a prosecutor because "they didn't spend three days stressing for you to then throw it overboard" or something like that, everyone gets scared by the Blue Badger and everyone wants to kill(?) Meckins

Ahhhhh, finally, I took it off my chest

I have olabs for Justice for all and Trials & Tribulation, but I'll make separate posts for those, you say if you want to hear it or not

Byee~!

[incorrectsibunaquotes]

Victor hates Eddie so much, and it’s because he represents the part of Mr. Sweet he didn’t have control over.

[youngpettyqueen]

I know the decision to have Julian's parents have him augmented was made on the fly but imo its pretty obvious from early on that Julian has Family Issues because he avoids talking about his family like the plague and I think they should've incorporated this into the Julian and Sisko dynamic right from early on because I think it would've made for some really compelling stories and moments and could've set up a REALLY interesting Julian and Jake dynamic which they kinda started to do but never fully went for

[dollypopup]

If Debling isn't good enough for Fran, as the Queen herself says, because he's boring and has nothing to really offer save a title

If what Debling can offer isn't good enough for Edwina, IE: a life of security without love like what Anthony was willing to provide for her

If what Debling represents, an absent figure in a household who does not invite his wife into his plans and interests isn't a good outcome for Portia, who preaches about marrying for security and then ends up scrounging for it, regardless

Why does fandom insist that Penelope has to settle for him? That he'd be a 'better option'? Why is it that she's the one who should have hopped on the first guy with a vague interest in her and tepid emotions when Colin is right there and actually desires her? Why are other women in the series allowed to prioritize love and dream of happy endings regardless of the consequences and outcomes but Penelope should be content with being the warden of a big house as her husband fucks off without her? Why is it that all these characters deserve romances and caring but Penelope should have accepted a title and an estate and being alone?

As if Colin can't provide her security. As if Colin doesn't show interest in her and listen to her. As if he's not from a good family and will also elevate her standing in society through their marriage. As if Penelope has ever been the kind of woman to go title hunting. As if Penelope finds any kind of solace in being alone. As if Penelope isn't actively looking for connection.

Peeps who think Debling is in any way a good fit for her hate Colin, but y'all clearly hate Penelope more, because what are you even talking about? Debling opened the door after getting permission to ask to marry her and didn't even smile. Colin throws open the carriage door and does the stride of pride to show her off to his family with a grin on his face. Debling dumps her with the first SNIFF he gets of her having interest in someone else. Colin runs off after her to beg her to give him a chance and not to marry the other dude. Debling wants to leave her alone in a big house as he goes on adventures. Colin cannot go traveling without writing to her and sharing the world with her.

Penelope deserves the best just as the other women of this series do. Penelope deserves to be loved in every way- with acts of service (the balloon scene, setting up a ballroom in Bridgerton House so they can flirt), with quality time (all their lessons), with touch (carriage, dances, kisses aplenty), with words of affirmation (you are Penelope Featherington, never forget that, you are clever and warm, you do not need lessons), with gifts (a ring on her finger, a house she can make a home with him together). With big gestures like running off after her and small moments like looking for her in every room.

I'm sick of Debling. I'm sick of people who don't recognize that he had 0 emotion toward Penelope save for 'she'll do'. That he liked that she was honest and alone and didn't share his interests. That she would be content with the scraps he was willing to offer her. Not passion. Not sharing. Not cultivating a life together. Not love. Not anything except money and solitude. In what world would that ever have been enough? In what world is that best for her? I'm sick of people refusing to see that Penelope wants to be and should be and will be loved all because there's bitterness in their hearts. If you throw a dreamer into a pragmatic box, they wither. As Colin would have with Marina. As Penelope would have with Debling.

Penelope deserves the best. Penelope deserves Colin. Because Colin is the best for her, to her, with her.

If you can't see that, sucks to suck.

[poorly-drawn-mdzs]

Counterspell

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