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obsessive-valentine · 2 months ago

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Forever and Always

Platonic Vampire Family + Fem!Reader

No real TW's in this one- just sick reader and reader not believing in stranger danger lol. Also !not proof read!

Based circa 1800’s, reader has caught the attention of a vampire who’s maternal instincts have been neglected after a tragic life as a living woman and empty one as a the living dead still without the daughter she longed for.

Readers age isn't specified -though implied her childhood has passed and is anywhere from adolescence even up to young adult, tried to keep it broad (but she does come across as naive and childish.) Wrote this bc mommy issues. I think it's getting a bit lengthy so I split this into 2 parts, I'll be slowly adding to part 2 and maybe be out soon if you guys like this kinda thing.

...

It's a small town, nestled in a valley and surrounded by forests of barren trees striped bare by the harsh winter. The clouds consistently created a grey overcast. It's cold all year around and wasn't uncommon to see people tip-toeing around the icy patches on the cobblestone streets.

Smoke from the small and squished townhouses further added to the murkiness in the air, mixing with the fog, but at least it added a sense of warmth when the winds blew it towards you. It never lasted long though before the cold begins to nip at your exposed nose and ears.

It was easy to feel like you were the only one who lived in this town. The streets are eerily quiet in the mornings when you'd walk in silence with your father to his shop in town. Even when you'd get into the town square, where most people could be found if they weren't working or at school, they are all on a mission and far too cold to stop and talk. The bitter winter seemed to seep into their blood as they pushed past each other, their footsteps rushed and faces buried in their coats. Then it was the same in the evenings when you'd walk back with your father, the streets quiet and cold, your father even more so. A thick fog would roll in, and lamp lighters would be up on ladders lighting the street lights, providing some comfort but not much to the wandering mind of a young girl.

See, Father wasn't a particularly bad parent, he comes off as detached and cold only because he's so busy. Emotionally neglectful? sure. But you are one of many siblings, he has to neglect you emotionally so that he can properly focus on caring for you physically. At least that's what mother always says. She's not much better though. You wonder why they had kids if they seem so apathetic and busy all the time, it obviously doesn't bring them much joy. Had they once loved each other and were excited to raise a family? Why did it change? You don't know nor never would, they don't appreciate talking about heavy topics.

...

You were excited to help father in his shop when he proposed it to mother "I can take the girl with me if she doesn't cause trouble. And the boy will be off with his older brother in school come next month. You continue teaching the older two girls their duties" He was trying to relieve pressure from mother, as she had to do house chores and teach your sisters the duties and tasks such as weaving and sewing. It was reluctant, he didn't believe in wasting money and sending you -just a girl- to school, but this argument kept rising up and he supposed he could use some help in the shop.

You thought this was an opportunity to get close to your father but he still didn't have the time to nurture you, you couldn't help but feel disappointed and even abandoned but never would resent your father due to childish innocence you still had yet to grow out of. You clung to any praise he gave you or any time he'd nurture to your necessitates, like buying you gloves on the walk to work when you wouldn't stop rubbing your hands for warmth.

...

The first time you had seen the woman, who would change your life, it was like any other. You had survived the walk to your father's store, careful not to slip on hidden ice and peaking into expensive shop windows when your father wasn't looking. He owned a general mercantile store, items ranged anywhere from tools to odd collectables to food. It wasn't uncommon for people to come in and ask for a specific item and your father would make some deals and acquire the item that wasn't available anywhere else and have it in the store for them the next week. Many people also came in to trade items for money, you'd watch from a distance as they haggled the price both the customer and father would fight over a single penny, it's pretty funny.

You sat on the large window sill at the back of the shop, face pressed up against the cold glass watching the busy people rush around. They looked like dragons with the cold breath coming from their noses and mouths. You'd just helped your father set up the shop ready to open, forced to clean the floors and surfaces and he finished some checks and brought out a few items from the back that he mended to be ready to sell.

You'd just finished wiping away the condensation on the windows, and were given the approval to sit down for a bit "Good job, go sit down out the way, I'll call for you in a bit".

People came and went hearing the bell ding from the door opening and watching people ponder on items as father busied himself with repairing an item to sell or counting money and paperwork. Looking back out the window you locked eyes with HER- a beautiful woman, in a pretty dress and lush winter coat. She smiled with a warmth this town hadn't seen in too long, you felt a connection instantly, you longed to talk to her, but brushed it off believing you only felt that way because of the abnormal warmth she radiated.

You had to stop yourself from gawking at her expensive clothing and lush long hair that was as dark as coal and curled to frame her face perfectly. Mustering up a genuine smile you raised your hand to wave subtly. You saw her eyes flicker to the store's main windows observing the variety before seemingly deciding to come look inside the shop. Straightening up in your seat you watched her cross the cobbled street towards the shop, you shuffled up closer towards the desk your father worked at, careful to stay out of his way but curious of the woman about to enter the shop.

The deep red of her dress was even more entrancing up close and her jewellery proudly sparkled. Father greeted her and helped her find some watches kept away in an expensive glass case lined with velvet padding. "Oh, my son would love one of these" She inspected them closer making light conversation with Father. Until she lifted her eyes over to you, spotting you almost instantly watching her from behind some storage shelves.

"Seems we have another expert ready to help. Come here." she gestured with an encouraging hand, you'd been caught off guard so your step stuttered as you walked closer -checking it was okay with your father with a glance.

"Come on" she egged. You walked up to the counter where the case of watches lay on display "Could you help me pick one out? I just can't decide" she sighed but kept a gentle warm smile. Something about her voice or eyes made you hesitate, ever so slightly unsettling, you'd never been nervous to help a customer. It was an odd feeling but her presence was so genuine and even maternal that you pushed aside the trepidations and nodded, unable to speak through your tied tongue.

Father left you both to it as he continued with work and serving the few customers who came in while you both talked. "My son is a serious young man, always deep in thought. He's needed a new watch for some time now, which one do you think will suit him?" she placed two watches she'd picked from the case, in front of you.

You stumbled over your words "I'm not sure... I mean I don't know much about watches" Your eyes darted between the two beautiful watches with tiny engravings -how did they make such small details on such a hard surface? You wondered. One gold and the other silver, they are just as beautiful as each other.

She lightly laughed, you could have sworn her eyes twinkled "Don't be modest. Beauty recognises beauty, and you are quite beautiful" Your face feels hot from the compliment and partly the pressure of picking such an expensive item for her.

"I suppose if he's more of a serious soul... he'd appreciate this one more?" you'd decided on the silver one, more sleek and serious. You didn't dare to touch it and dirty it so you just gestured.

She hummed, taking a closer look. You stood fiddling with your clothes unsure if it was the right choice, until she spoke- "You are a smart girl, this one is much more suitable." she agrees putting the gold one back in the box

Since finding your voice once again you decided to ask her about certain pieces of jewellery she wore as she counted her money. She gladly engaged in conversation, even passing you a few rings or bracelets that she wore so you could look at them closer as she talked about the stones or where she got them from. You insited you shouldn't touch them as she passed a bracelet to you "I've been cleaning this morning, my hands must be dirty I shouldn't touch such a valuable thing like this." She took your hand and manually placed it in your palm "It's no bother, I insist" she encouraged.

She travels a lot, and most of what she was wearing being from a different country. You wondered how she could travel so many places in such little time, and how rich she had to be to do that, you don't think you've ever left this town. Before you could ask about her travels, being so deeply invested in talking to her you'd leaned on the front desk, ready on your elbows and tip-toes for the next story- that wouldn't come. "-Are you helping the lady or just standing around?" your father scolded one he saw you chatting to the woman unrelated to selling her the watch "Get on with your chores before lunch time comes around" he ordered.

You turned to the woman with a sheepish and apologetic smile before hurrying away further into the store. She seemed a bit agitated by being interrupted by your father but quickly covered it up to finish the transaction.

"You've picked that one ma'am?" Your Father chimed in, eager for the money coming his way.

"Yes" she handed him the watch "Your daughter has quite the eye, it's a lovely piece" he hummed back in acknowledgement but not necessarily agreeing, he counted the cash and bagged the item. She wanted to scowl at his attitude but kept composed, she looked over her shoulder for any sign of you, she could hear the broom being swept over the wood-planked floor but couldn't see you. She reluctantly left with only the silver watch.

...

You saw the woman frequently after that first meeting. It was as if she appeared whenever you needed her most—without being summoned, always close by, like a shadow lingering just beyond the edges of your world.

Sometimes you'd bump into her on your way to the bakery when Father let you have a lunch break with a few coins clutched in your hand, and she'd fall into step beside you- like you'd just summoned her. She'd ask about you, but you were always eager to get to the stories that you'd rush through formalities, she'd gladly continue her stories of the world beyond this valley.She would then buy you a pastry or two, ones you couldn't possibly get with just the few coins in your hand. You'd pocket the extra coins and have a growing stash in your pillow back at home.

and walk you back to the shop "Go on, dear," she’d say, gently nudging you back toward the door. "I’ll see you again soon." Before disappearing into the crowd.

On other days, when you saw her outside the shop from your window, you felt an irresistible pull. Her presence became a secret thrill, something just for you, a small rebellion against the order your father imposed. Carefully, you’d slip out the back door, the heavy wooden frame creaking in protest, but not enough to alert anyone.

You’d run out, your heart racing as you approached her, trying not to draw too much attention from anyone passing by. She always noticed you before you could speak, turning toward you with that warm, knowing smile.

"Sneaking out again, are we?" she’d tease softly, her voice almost conspiratorial. "What would your father say?"

But there was never any judgment in her words, just a hint of amusement and affection.

At some point, you had the sense to ask her name after realising she'd been using your name but you, in all your excitement, had yet to use hers. "Lavinia Beaumont, dear" she couldn't help but laugh a little, she was beginning to believe you'd never ask.

You blinked, the name rolling over your tongue in your mind, everything about her seems rich and beautiful, you smiled.

"Lavinia Beaumont... it sounds like royalty," you said with a playful glint in your eyes. "Are you secretly a royal? I promise I won't tell anyone." you continued half joking.

"Not quite" She smiled, before you could question further you had to leave her for the day to return to the shop.

...

It was yet another working day for you and your father, or it should have been. Lavinia had yet to see you, she couldn't even sense your presence. not wanting to believe it however she left the carriage and walked further into the streets of town.

Subtly she went out of her way to walk in front of the mercantile store you were usually found in if not nearby. Her eyes darted at each of the windows, looking inside for the sight of you sweeping, cleaning, sitting at a window or sneaking around to fiddle and poke at the new stock much to your father's dismay. But the only person in the store is your father.

She walked the town a little longer, hoping anyone of her senses would pick up on you. There was nothing and she returned home.

Lavinia did this twice more, coming in the mornings, seeing no sign of you and coming up with excuses, but it never helped to unease.

On the 3rd day, she gave up waiting and walked into the mercantile store. The bell rang above her head "Back again I see, how can I help?" your father spoke straightening up from his position at the front desk where he'd previously been writing- presumably taking stock or counting money.

"A pleasure to meet you again, I'm curious about what other beautiful pieces you have, My son was most taken with it." Lavinia replied, eyeing the glass cases, none of this jewellery she'd wear, her taste is far more expensive but she had to sell the narrative. Your father jumped at the opportunity to sell yet another pricey piece "Ah! Madam, If you’ll allow me a moment, I believe I have something that might catch your eye."" he disappeared into a back room and emerged with an envelope. "I've just had these in, I haven't had time to put onto the shelves yet but it might be of interest to you, fine work indeed." He pulled out some fine chains of silver and gold, with little stones or pearls decorating them. Lavinia couldn't care less about the jewellery but played along nevertheless.

"Beautiful" she inspected "I had thought the young lady who assisted me last time might be here today. She had such an eye for these things. Where might she be? I'm sure she could pick the finest one for me" She began to prod but making as though the thought had only just occurred to her, asked in a light, conversational tone.

"Oh, I'm sorry to disappoint but my daughter has become increasingly ill the past few days. And the physicians believe it to be consumption, but they are hopeful she'll get well soon as we caught it early" Your father replied, he fidgeted and shifted his weight continuously.

Lavinia had long set down the jewellery and stood listening intensely. She dreaded it but had suspected something greater was at play- "I'm so sorry to hear that, such a sweet girl shouldn't go through that" She was secretly seething, her girl is in pain somewhere and Lavinia- for the first time in a long time- was helpless. He cleared his throat awkwardly "Yes, I'm sure it will all smooth out"

...

"The girl is sick! You know better than anyone she won't overcome this, not with those treatments-" Lavinia seethed at the thought pacing her husband's study, where he sat once writing at his desk but now interrupted and pinching the bridge of his nose in annoyance.

He stood up ready for this argument to end, this girl had caused a lot of ruckus in the house since Lavinia had begun talking about you and he's about fed up "-We are surrounded by death, I thought you had come to terms with that long ago. Plenty of good people have died early in life and will continue to be that way, death doesn't discriminate. She's just one of an incomprehensible amount of average people experiencing an average tragedy" In some sick way he's ready for your death, so his wife overcomes this unhealthy attachment to some average mortal girl.

"But she could be more than that. She's more than that to me. And you know what I mean by that, you've been denying me this instinct for decades and you're cruel for that." Lavinia had to step away from the deeply unsettling conversation, turning her back to storm out but turning around last minute before slamming the door "I am the very thing that holds this family together and you'd have nothing without me" her teeth are gritted, her voice low and damning. She's never had any great quarrels with her husband, maybe a healthy few in the past few centuries but nothing that could make her question his love for her or hers for his.

...

"Father, a word?" Lucien, one of the sons of Lavinia and Soren, entered the study where hours had passed of Soren thinking over the conversation. Soren gave a brief nod busy putting on his coat and finding his gloves that he always seems to misplace, he supposed it's been a while since he's needed them to go out anywhere. "You can't be serious" Lucien scowled, now noticing what his father is doing.

"Get on with it boy" Soren scolds Lucien's disrespectful tone. "NO! You're going to get the girl, aren't you!? You're giving into Mother because of one little quarrel? You're putting our whole family, everything we've built at risk for an average mortal girl?" Lucien scolded, his face twisting in a mix of emotions, unable to grasp the concept.

Soren ignored Lucien's tone, whereas if it was any other day he wouldn't stand it -he's simply too tired to argue more "This is something I should have seen coming a long time ago. This isn't a passing interest or quarrel, you should know your Mother better than that. She's the reason we exist in any form of peace, the family would be much worse off without this gir-" Lucien interupts with "- We've done fine without this mortal so far!"

Soren glares at his son "I'd appreciate if you don't interrupt, that is childish. I don't expect you to understand your mother's need for her as you have never seen her broken" Soren pauses to grab his gloves out of their hiding place.

He continues "You're right, we've got this far without her. But this denial- this gap in your mother's life has been building in the background for centuries. She sees potential -so I suppose I do to" Before Lucien can argue more Soren leaves the room headed for the front door.

He passes the younger of the two, Dorian, standing close by "It's lousy to eavesdrop, Dorian" The boy grins in response, clearly curious about this change and more accepting than his brother.

...

You believed the reaper had come for your soul when you saw that man standing in the doorframe to your room. It had to be the dead of night, there was no sound to be heard or light to be seen aside from the dim glow of the moon. Your candle on the nightstand had long been burned out.

Still dazed and lethargic from sleep and sickness you blinked a few times at the unmoving figure which studied you, you then took a deep breath in, which rattled in your chest readying yourself for what monster you might face.

Courage is mustered and you manage to ask "Who are you?" quietly and sounding sickly but the monster in the shadow seems to hear you fine. "Soren. Your father sent me -I'm here to help, I'll have you healed by morning" his voice is monotone, but at least not one of a story book monster you'd expected.

You felt bitterness at the mention of your father's name, once you had given him every excuse in the book for why he didn't show his love for you. But the past few days had been rough, he wouldn't even look at you, unsure what to do with you, sending doctors and medicine but not the comfort you longed for. You just wanted reassurance, just love.

Soren steps into the room a bit further, the wallpaper a childish floral pattern. You had trinkets strewn about, papers of scribbled writing and doodles on the little oak wood desk, a doll here and there that you couldn't part with once your childhood had finished.

He looked back at you, pale and exhausted. Your brows furrowed while you tried to make sense of the man. He felt an unexplainable emotion, maybe closer to remorse but more complex than that. The innocence he hadn't seen in a long time, you'd struggle for a while once you were turned - it happened with both his sons and wife. Maybe you'd wish you had died here on this bed, maybe you'd fill the house with anger or maybe sorrow.

But in the grand scheme of things that period will be not even a fraction of your greatest purpose. He sucked in a deep breath out of habit not need, he pushed back the hesitation. For a greater purpose. For Lavinia. For the sake of his family, which you will become.

In cold resolve he walked towards the bed, you'd live on in a way, he wasn't lying. Your true death would be wasted potential, you'd learn to be content with undead like he once had to.

"How?" you questioned he blinked back into reality "How can you heal me in mere hours?" It's a reasonable question, but an incredibly complex answer he didn't have time for.

"You just have to trust me" He replied simply "We have to go to my office first, you'll be in your bed, healthy, come morning. I promise" He continued, seeing your weariness.

Your hand lifted and a small finger stuck out "Promise?" you asked. He recognised the childish gesture and returned it with his gloved hand, hiding how unaturally cold he is "I promise" he repeated back. He wasn't really lying, you would be saved from consumption in a couple of hours and sleeping in your bed -be it in your new home.

He lifted you into his arms, one under your legs and the other around your back as you rest your head on his chest. You both left the room then house without another word never to be seen by the sleepy, moody little town ever again.

You fell asleep -the last deep sleep you'd experience as a living being. He was careful not to wake you on the ride home.

...

Lavinia now had found out what was happening after Dorian ran to tell her the news -ever loyal to his mother. "Fathers left to get the girl" he gently told her as he stuck his head through the crack of the door.

Lavinia straightened up from her seat where she sat embroidering to pass the time "You don't mean it? When did he leave?" she haphazardly dropped the items on a side table and rushed past him.

"Not long ago" Dorian followed after his mother "How could this be?" she more so muttered to herself but Dorian replied anyways "A change of heart I suppose" Dorian was quite amused by it all, more from shock not meaning to be insensitive. Its rare that something of interest or chaotic happens in the house that he cant helped but get worked up a bit.

Lavinia paced the entryway waiting for Soren to return, hopefully with you. Dorian sat on the staircase a bit further back keeping his mother company while Lucien sulked in his personal study, wanting nothing more to do with this mess.

The carriage and hooves could be heard on the gravel path leading to the house. Lavinia couldn't wait any longer and opened the door welcoming in a cold draft as she stepped outside to watch the carriage come into sight.

And there you were in Soren's arms, out cold, but looking so peaceful. He stepped down onto the gravel and Lavinia almost aggressively snatched you from his hold.

Instead, she gently took you, not to wake you. Seeing you up close was a shock for her, only remembering you as that lively town girl. Not the sickly pale, exhausted and wasting girl consumed by sickness.

"Oh my baby" she whispered brushing the hair away from your fevered face, then clutching you closer, cradling you like one would a baby. For a fleeting moment, her eyes met with Soren -her hand briefly brushed over the side of his face, a quick gesture of appreciation. He stood unmoving and unreadable but allowed the touch and connection.

She then rushed you inside before the frost of the night woke you up, her footsteps hurried but careful. Her head crowded with one thought only; 'you're safe with me now, forever and always'

#yandere #yandere vampire #+reader #platonic #vampire family

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dykes4kakashi · 2 months ago

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oh so he’s an emotionally closed off silver haired prodigy/genius who neglected all aspects of his personal life to focus on his work from a very young age? and though they have crossed paths in the past it’s not until later that he builds a personal relationship with an emotional/passionate dark haired man who has worked hard for everything he has? and they have the same job but at different levels? and the dark haired one is younger? and the silver haired one is obsessed with romance while the dark haired one is too busy and too stressed to really think about it too much? and the dark haired one challenges the silver haired ones world view? and they watch over a little blond freak together in different ways (the silver haired on focuses on helping him hone his skills while the dark haired one helps him with his motivation and aspirations?) and the dark haired one is entrusted with the silver haired one’s dog? and the silver haired one likes to tease and is overly touchy with only the dark haired one? and the silver haired one pushes the dark haired one to believe in himself and aspire for more than his insecurities will let him? and there’s obvious unwavering trust, care, and respect between them built over the time they’ve known each other? and though they have their disagreements, they always resolve their issues and this brings them closer? and—

you’re going to have to be more specific

#once my brain started going it wouldn’t stop #ANYWAY #i want what they have #yuri on ice #kakairu #victuuri #kkir #yoi

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hard--headed--woman · 6 months ago

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Sooo you're used to it by now, here's my 4th special pride post, and today we're going to talk about

Marguerite Radclyffe-Hall !

Marguerite was born in 1880 and died in 1943. She was a British poet and writer, author of "The Well of Loneliness", a revolutionary and very important novel in lesbian literature. She never tried to hide her homosexuality.

Neglected by her parents as a child, she studied at King's College London, then in Germany. She reached adulthood without a vocation, and spent a big part of her twenties in a series of relationships with women who later left her to marry.

In 1907, at the spa town of Bad Homburg in Germany, Marguerite met Mabel Batten, a lieder singer nicknamed Ladye, and the two fell in love. Batten was 51 at the time, with a husband, grown-up daughter and grandchildren. Hall was 27.

The two move in together when Mabel's husband dies. At the time, Marguerite was known for her "masculine" appearance and constant wearing of "masculine" clothes; Mabel Batten nicknamed her "John", a nickname she kept all her life.

In 1915, Radclyffe-Hall fell in love with Una Troubridge, a cousin of Mabel's whom she had known for 10 years. Battel died the following year, and in 1917, the two women moved in together. The two lived together until Hall's death, despite Hall's many affairs (that Troubridge painfully tolerated).

She has written eight novels and several poems.

Her first novel, "The Unit lamp", (1924) tells the story of a young girl who dreams of moving into a London apartment with her friend Elizabeth (a so-called "Boston marriage") and studying to become a doctor, but feels trapped by her emotionally-dependent, manipulative mother.

The novel's length and complexity made it difficult to sell, so Marguerite chose a lighter theme for her next novel, a social comedy : "The Forge". The book was quite successful this time.

Her next two novels were a great success, especially "Adam's Breed" (1926), which won the Prix Femina and the James Tait Black Award, something that had only been achieved once before.

But her best-known novel is "The Well of Loneliness". Published in 1928, it tells the story of a butch lesbian, from her childhood in England to her stay in Paris, where she becomes a famous writer. The novel was the subject of an obscenity trial in the UK (despite not being sexually explicit), resulting in the destruction of all copies. The USA authorized its publication after a long, long legal battle. Considered a classic, an extremely important work of lesbian literature, "The Well of Loneliness" was 7th on Publishing Triangle's 1999 list of the best gay novels.

In 1930, Hall won the gold medal of the Eichelbergher Humane Award. She was a member of the PEN club, the Council of the Society for Psychical and a member of the Zoological Society of London.

She died of colon cancer in 1943, aged 63. Her impact on literature, and lesbian literature in particular, remains significant to this day.

You can find the list of her novels (and more details about her life) here !

And some of her poems here :

Hope you enjoyed, and see you tomorrow for the 5th post!

#lesbian #pride #pride month #lesbian pride #lesbian history #lesbian writer #lesbian poet #radclyffe hall #marguerite radclyffe-hall #butch lesbian #lgb history #female homosexuality #female homosexual #women's history #herstory

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veronicaphoenix · 2 months ago

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zutto — chapter eight | wc: 5.7k | series masterpost | prev. chapter

Chapter summary: Lia and Noah go to couples therapy. Noah and Lia spend a cozy evening in her studio. Reading time: 22mins. aprox.

Tags and trigger warnings: therapy, talks of mental health, ptsd, anxiety, insecurities, self-doubt, mentions of parents' neglect, abandonment, mentions of medication and lia's overdose, mentions of lia's abusive relationship with mitch, mentions of alcohol intake, talks of sex, implied sexual scenarios that include oral sex (female receiving) and protected sex. The rest is pure fluff, noah and lia being totally madly in love with each other and being supportive of each other's works. There's blindfolding going on in this chapter but it's not in a sexual scenario. If I'm missing sth, let me know. The therapy scene took me ages to write.

General trigger warnings: this work addresses and depicts issues related to addiction, abuse, & violence, contains explicit sexual content, and explores themes of childhood trauma. Reader discretion is advised. +18

“Have you found any hobby; any activity that helps soothe your anxiety?”

Lia processed Dr. Reynolds question, thinking back over the past few days: rejoining her long-missed yoga classes, meeting Emery for coffee on Thursday, catching up with the BO crew to discuss tour logistics and merch-related stuff, drawing, packing for Japan…

After a brief pause, Lia replied,

“Sex.”

As soon as the word left her lips, her face flushed. Sitting next to her in the other armchair, Noah remained still, his eyes wide in surprise at her response, though he didn't look directly at her. His cheeks were tinged pink as well.

Dr. Reynolds immediately noticed their reactions, especially the way Noah quickly avoided eye contact.

“Okay, there’s no reason to feel embarrassed,” she reassured them, raising her hands slightly from her desk, which separated her from the young couple. “Sex is something totally normal and natural, and it’s great for our mental health and well-being.” She waited a few seconds until she saw Noah’s shoulders relax and Lia let out a sigh. “Tell me, Lia, how do you feel when you’re physically intimate with Noah?”

Lia raised an eyebrow while still curled up in the armchair.

“Mentally, emotionally,” Dr. Reynolds clarified, a genuine soft smile on her lips.

“Umm,” Lia’s mind wandered to their first time—both drunk and needy for each other. She remembered it had felt good, but she didn’t want to dwell on that night, since it was followed by the worst weeks of her life. Instead, she thought about the last few days, about every time Noah had covered her with his body or laid her down on the sofa, his face sinking between her legs. She had never put into words how it felt, aside from when Noah asked if she liked what he was doing to her, or the previous night, when she’d been sitting on his lap, arms and legs wrapped around him, and he had asked if that posture felt good. She had breathlessly muttered in his ear that it did, “it feels so good, Noah.”

“It feels good,” she started.

Better than that. But she didn’t feel comfortable enough to say to her therapist the same she’d told Emery two days ago when they’d met. “It feels like everything’s okay. I feel loved, and I feel safe.”

Dr. Reynolds nodded in understanding. Her dark brown eyes shifted to Noah, and he shifted uncomfortably in his seat.

“What about you, Noah?”

Noah cleared his throat.

“Uh, I—”

Fuck. Did he really have to talk about it to that woman? It was hard enough to put into words what he felt, let alone say it out loud to a stranger. Still, he wasn’t there just to sit comfortably in that chair, listening to Dr. Reynolds and Lia’s difficult answers. He was there to communicate. Lia had made the effort, and his heart had fluttered when he heard her say how loved and safe he made her feel. The least he could do was the same.

He replayed images from the day before in his mind: her skin against his, the way she wrapped around him, how warm she felt, the look in her eyes when he flipped them both so he could be on top, thrusting deep inside her.

“It feels like….” He swallowed, avoiding direct eye contact with the therapist. “I’ve always felt that something was missing, and… After things got better between us, I… I felt complete.” He wasn’t talking only about sex. “I feel utterly happy when I’m with her, not just for myself but for her, too. I know I was… I know I am making her happy.”

Well, that sounded cheesy as fuck, Noah.

Dr. Reynolds gave a gentle nod.

“I think it’s clear that you and Lia have a deep connection. Would you say it’s been like this since you first met?”

Grateful for the shift in topic, he answered quickly.

“Absolutely,” he said, with certainty. He’d been fighting everyone from the very beginning to show the world that no one knew Lia like he did. Therefore, no one could take care of her the way he could.

He expected Lia to echo his response, but her mind was somewhere else.

“I feel so guilty,” she began, directing her words to Dr. Reynolds. “I’ve loved him since I was a kid. All those times I scared off his girlfriends, I was being selfish and a coward. Then, Mitch came and…” she sniffed but held back tears. “I’ve… carried this fear with me my whole life. A fear of never being enough, of not deserving love. I know I always had Noah, but even when I did, I was convinced that it was all some cruel joke, and that as soon as I finally had him, life would rip him away. I couldn’t bear that thought. So, I buried my feelings, blocked them out; I forced myself to believe it wasn’t real, that I wasn’t in love with him. I told myself for months that it was just infatuation, that he had bigger things to focus on and worry about. The band has always meant everything to him and…”

“That’s not—” Noah started, but Dr. Reynolds raised a gentle hand to quiet him.

“I kept pushing him away, again and again. I know I hurt him. I know he loves me, but the guilt is suffocating. I’ve put him through so much.”

Dr. Reynolds listened intently, her eyes calm and steady, letting the silence linger after Lia’s words. It was a weighty silence, one that felt like a deep exhale after too many years of holding it all in. Lia’s hands trembled slightly in her lap.

“That weight has always been there,” she continued through clenched teeth. “I’ve always sabotaged things before they could go wrong, merely because I was convinced they would go wrong.”

Noah shifted beside her. He wanted to reach out, to hold her hand, but the heaviness of the moment kept him still. He hated hearing her talk like that, as if she was the villain in their story. He opened his mouth to argue, to tell her she didn’t need to feel guilty, but something in Dr. Reynolds’ gaze made him hold back once again.

“Lia, what you’re describing is a fear many people experience when they’ve been hurt before or when they deeply value something. We’ve talked about this, remember? It’s called self-preservation. You and Noah have been friends since you were kids. You’ve been attached to him most of your life. He’s been your constant, so it makes sense you’d fear losing him. That fear made you protect yourself, even when there wasn’t a real threat.”

Lia swallowed, her eyes glassy as she fought back tears.

“But I pushed him away. I hurt him when I should have trusted him.”

Dr. Reynolds nodded.

“I understand. But what’s important now is recognizing that your feelings of guilt are part of that same fear. You’re punishing yourself for something that, at the time, you thought was the right thing to do. You didn’t want to lose him, and pushing him away was your way of safeguarding your heart.”

Noah’s jaw clenched. He had been so frustrated with Lia over the years, but sitting here now, listening to her talk about her fear of losing him… he realized he understood that fear all too well.

He wished she could see what he had always known, that no matter what, he wasn’t going anywhere.

Lia turned to him, her voice breaking.

“I didn’t want to be a burden to you.”

He leaned towards her, her shoulder almost brushing hers.

“You were never a burden and you know that,” Noah said quietly. “I’ve always wanted you around. You make me happy. You always have.”

Dr. Reynolds leaned back in her chair, giving them a moment to let that sink in.

“Lia,” she said after a short while”, I want you to delve deeper into that fear. Do you think it's why you've always stopped yourself from doing certain things? Like telling Noah you loved him?"

Lia hesitated, her breath catching as memories flashed through her mind.

“Yes,” she exhaled. “Everything has been because of fear. Deep down, I always knew I loved him, but I was terrified of what that meant. If I admitted to myself that I was in love with him, with my best friend, everything would change. And… if I let myself love him fully, the risk of losing him would become real. I couldn’t handle that.” She made a pause to take a deep breath. “I fough hard to convince myself it was just infatuation—that it wasn’t as deep as it felt; that I just wanted to be the center of his attention because he was so perfect. But I was lying. It was love. I knew it the whole time, and that scared me more than anything.”

Noah felt his heart tighten in his chest. She had been carrying that fear the whole time, while he had been waiting—always waiting—for her to believe he wasn’t going anywhere.

He reached out, his hand resting gently on hers.

“You don’t have to be scared anymore,” he said.

“I know,” she whispered, her voice shaking. “But I’ve spent so many years convincing myself that loving you was dangerous—that as soon as I let myself have you, I’d lose you.”

Dr. Reynolds kept on jotting down notes on her notepad before speaking again.

“Lia, that’s a common reaction when someone is deeply afraid of loss. You never had a paternal figure, you mother didn’t provide you with the care and attention you deserved. Then, the people closest to you—Noah’s grandparents— also moved away. You mentioned this not long ago, right? When Noah’s grandfather passed away, his grandmother decided to return to Japan, and you felt that as a loss, too, as a kind of abandonment.”

“I know it wasn’t,” Lia said, her posture stiffening, discomfort creeping in as if she didn’t like the truth of it. “But I couldn’t stop myself from feeling it that way. Then I only had Noah... and I guess my attachment to him grew even more.”

“Of course. It makes sense, Lia. You’ve loved Noah since you were merely a kid—first as a friend, then as something more—so much that you feared the very thing you wanted most: being with him. But now that you’ve faced that fear, it’s important to remember that love isn’t something you need to protect yourself from.”

Dr. Reynolds let the words settle between them before leaning in, her gaze moving between Noah and Lia.

“Noah, I think you’ve been carrying your own set of feelings for a long time, too. While Lia was dealing with her fears, you were facing a different struggle, trying to support her. Isn’t that right?”

Noah rubbed the back of his neck, feeling the familiar knot of tension there. He didn’t love talking about himself—he never did—but he knew today wasn’t the time to hold back.

“Yeah,” he admitted, “I’ve always felt like I had to prove myself, even with her. I’ve always been scared of not being enough for her. Like, maybe one day she’d realize I’m not this perfect guy she thinks I am. And, I guess that fear made me hold back sometimes, too.”

“You both have been trying to protect each other in different ways—Lia by pushing you away, and Noah by trying to be perfect. But what’s clear is that the connection you two have, the love between you, has never really faltered. Even when you were afraid or apart, you didn’t let go.”

Lia wiped a tear from her cheek, processing the Dr.’s words. She turned to look at Noah, who was watching her with an intensity that made her heart ache. Without a word, she reached for his hand, intertwining her fingers with his.

“I’m so sorry,” she whispered. “I never meant to make you feel like you had to prove yourself.”

Noah shook his head.

“You don’t have to apologize. We’re together now. We’ll figure this out—together.”

Dr. Reynolds leaned back, her gaze warm and understanding.

“Both of you have been carrying fears and doubts for a long time, but you’re both ready to face them—together. Your connection, this love, is strong enough to handle the uncertainty. You’ve already proven that.”

Lia wiped at her eyes, nodding. The guilt hadn’t disappeared entirely, but it had loosened its grip. She wasn’t alone in this, and that was enough for now.

Dr. Reynolds shifted slightly in her chair, her expression softening as she turned her attention to Lia.

“Lia, I want to acknowledge the progress you’ve made. You’ve been through an incredibly tough journey, not just emotionally but physically as well. The abuse you suffered in your previous relationship, the trauma from your childhood—growing up without a father and with a neglectful mother—those are heavy burdens. And on top of that, you’ve struggled with your relationship to medication.”

Lia glanced down, her fingers fidgeting in her lap. That was going to be a long day. She was sure the moment she got home, she would collapse into bed, terribly exhausted. The weight of everything she’d gone through still felt fresh at times, and talking about it was like watching it play on a TV, or worse—reviving it.

“The meds did help at first,” she explained, “but then I got lost in them. I was dependent on them, and I started taking more than what I was prescribed.” Her voice quieted, as if confessing. Dr. Reynolds already knew, but she had told Lia a few times how important it was for her to verbalize it until it didn’t trigger her anymore. “I was using them to escape.”

“That overdose was a wake-up call,” Dr. Reynolds said. Noah winced at the mention of it. “But what matters is that you’ve taken steps toward healing since then. You’ve made a brave choice in deciding to taper off the medication, and even though it’s not easy, it’s clear that you’re managing much better now, especially with the positive changes in your life.”

Lia’s gaze flickered to Noah, who gave her a reassuring smile.

“It’s been hard,” she admitted, her voice soft but steady. “The withdrawal was terrible at first, and I didn’t think I could handle it. But things have been different… better since Noah and I started working things out. Being with him, in a healthy way, makes me feel like I don’t need the meds to be okay.”

Dr. Reynolds smiled warmly, her eyes filled with encouragement.

“You’re taking control of your life, Lia. You’re moving away from dependency, both on the medication and on the emotional crutches you once used to cope with all the pain. And that’s an incredible achievement. You’re learning to rely on healthier mechanisms—your relationship with Noah, your art, and most importantly, yourself.”

Lia felt a lightness in her chest, something she hadn’t experienced in a long time. The meds had numbed her for so long that she hadn’t trusted her own emotions or ability to cope without them. But now, without that fog, she was starting to feel everything—both the good and the bad—and it wasn’t as overwhelming as she’d feared.

“I still have bad days, but… I don’t feel like I’m drowning anymore,” she said quietly. “Noah helps, but I think I’m helping myself, too.”

Dr. Reynolds nodded, pride evident in her expression.

“That’s exactly what I want to hear. It’s not about never feeling anxious or sad again—it’s about learning to face those feelings without needing to numb them. You’ve proven to yourself that you can. And having a supportive partner like Noah is a huge help, but ultimately, the strength you’re finding is coming from within you.”

Noah’s hand tightened around hers. She wasn’t fixed, but for the first time in years, she didn’t feel broken either. She was healing—slowly, but surely.

Dr. Reynolds closed her notebook.

“Keep going, Lia. You’re on the right path. You’ve come a long way, and it’s clear you’re capable of even more. The fact that you’re doing this—getting off the meds, facing your fears, building a healthier relationship with Noah—it’s all a testament to your resilience. You will get better.”

Lia nodded, a small, hopeful smile tugging at her lips. For the first time, she believed it.

As they stood to leave, Noah slipped his arm around her shoulders, pulling her close.

Once out of the elevator and onto the street, Lia hurried toward the car, eager to get home. But before she could, Noah grabbed her arm, turning her to face him. He cupped her face in his hands, and without a word, leaned in and kissed her deeply, ignoring the people passing by and the noise of the street around them.

When he pulled back, Lia was breathless, her wide eyes gazing up at him, a spark of something new and beautiful shining in them.

“Whatever happened—whatever will happen—I don’t care. We’ll face it together. I’m not letting you go, Lia.”

She wanted to say, I’m not letting you go, either, but the words wouldn’t come. She was too awestruck by his closeness, overwhelmed by the love she felt for him and the weight of everything that had surfaced in therapy. So, instead, she just stared at him, her heart full.

Standing on her tiptoes, she grabbed two fistfuls of his hoodie and kissed him back, pouring everything she couldn’t say into the kiss. After a few moments, Noah pulled away, looking down at her with a soft intensity.

“Lia, am I clear?”

She nodded.

“Yes.”

“Good.”

He gently tucked her hair behind her ears and leaned down for another kiss, this one soft, reassuring. When he finally pulled away, he took her hand in his.

“Let’s go home. That was exhausting.”

A week later

Every couple of minutes, Lia would push a stray lock of hair behind her ear, only for it to fall back into place again. She was sat cross-legged on the floor, her sketchbook balanced on her knee. Her pencil moved in quick strokes, pausing every so often as she bit her lip in concentration, only to resume with a renewed burst of energy.

The late afternoon sun filtered through the blinds, casting warm streaks of golden light across the studio floor that reached the other end of the room, where Noah was sitting at the desk, focused on the apps open on his laptop and on Lia’s iMac.

He’d brought over two mugs of hot chocolate earlier, one of which still steamed next to her on the floor, while his sat neglected on the desk. They had spent most of the morning out of the house—Noah had gone to the gym and then had met the boys at the studio while Lia had gone to one of her yoga sessions, then had met Emery at a nearby Starbucks. In just three days, they would be flying to Japan for the Bad Omens tour, followed by a well-deserved two-week rest at Grandma’s house, in the outskirts of Tokyo.

Noah’s mind had started to feel mushy in the last thirty minutes. Growing distracted, he stole a glance at Lia, watching her as she worked. Her focus, the way she’d push that same strand of hair away from her face, the way her brow furrowed... Eventually, feeling his mind grow too fuzzy, he stood up, muttering something about needing to wash his face.

When he returned to the studio, Lia was in the same position, still immersed in her sketching with her back towards the door. Without saying a word, Noah walked over and sat behind her, sliding his legs around her body as he leaned in close. Tempted, he pressed a soft, lingering kiss in her hair. Then another one further below. And another one right below her ear. Lia squirmed in his arms but kept her pencil moving.

“Noah,” she mumbled, her lips curling into a half-smile, half-protest.

He didn’t answer, trailing another slow kiss down to the nape of her neck. Her shoulders tensed, then relaxed, a small laugh escaping her.

“Stop,” she said, though the warmth in her voice betrayed her, as well as the way she titlted her neck to give him more access.

“You’re not really convincing me,” he teased, brushing her hair aside to kiss the curve of her neck.

Lia twisted in his arms, still trying to focus on her sketchbook, but the pencil faltered as she squirmed again. She laughed, turning her head slightly to glance at him.

“You’re such a distraction.”

“Guilty as charged,” Noah grinned, wrapping an arm around her middle and pushing her flush against him. He was practically caging her with his body.

Instead of reaching for his own mug of hot chocolate still sitting on the desk, he lazily grabbed hers, taking a sip.

“Hey! That’s mine,” she protested.

“Yours is closer,” he replied with a shrug, taking another sip before handing it back to her. “What are you working on?” he asked, glancing over at her sketchbook.

Lia flipped through some of the pages, her pencil resting between her fingers.

“I’ve been sketching ideas for Grandma’s garden,” she said, her voice soft with affection. “You know how much she loves that garden. Last time we were there, I planted some peonies and lilies around the trees by the entrance, remember? I’m thinking of adding more this time.”

Noah leaned closer, peering over her shoulder as she traced her fingers along a delicate sketch of flowers winding around a tree.

“I’ve been imagining how it would look if I added some kiku or fuji seeds. Chrysanthemums and wisteria,” she explained, her eyes lighting up. “And I was thinking… maybe we could place some traditional statues around, or even build a tiny pond.”

Her voice trailed off as she flipped to another page—a rough outline of the garden, filled with plants she had already painted with soft strokes of watercolor. The colors in the drawing—deep pinks from the peonies, pale purples from the lilies—looked almost alive, like they were already blooming.

“Look,” she said, pointing to a part of the sketch where she’d blended purple hues for the wisteria draping from a branch. “I’ve been working on the colors, trying to match how they’d actually look in the garden when they bloom. I can see it in my head—how the sunlight would hit the flowers, the way the colors would change depending on the time of day.”

Noah’s expression softened as he gazed at the painted page.

“She’s going to love that,” he said, setting his mug down. “And it sounds like a great excuse for us to check out those famous Japanese gardens you wanted to visit last time but didn’t get a chance to.”

Lia’s face lit up, her eyes sparkling as Noah added, “I could even sketch some ideas for the pond, maybe add some stones and other features if we get inspired by those places."

Lia hummed thoughtfully, inspecting her own designs.

“After the tour, we’ll have time to explore more traditional spots—temples, hidden gardens in smaller towns. We can start with the city’s chaos, then unwind in the gardens and parks. Once we’ve soaked in all that inspiration, we can start working on Grandma’s garden," Noah said.

A smile tugged at her lips as she leaned back against his broad chest, feeling the comfort of his warmth.

“I like that plan,” she admitted, smiling. “I’m excited for the shows, but I think I’m more excited about seeing Japan… with you.”

He leaned over, pressing a soft kiss to her temple.

“Me too,” he murmured. “And Grandma’s going to love whatever you do to her garden.”

They sat in a peaceful silence for a moment. The room was cozy, filled with the scent of hot chocolate, and Noah’s hand rested warmly on her stomach, his cheek brushing against hers tenderly.

Lia finally broke the silence with a mischievous smile.

“I have an idea,” she said, untangling herself from his arms and standing up. Noah made a disappointed sound but didn’t question her, merely raising an eyebrow as he watched her disappear into the other room.

When she returned, she held something behind her back, clearly up to no good. Noah’s curiosity piqued.

“What are you planning to do with that?” he asked, a teasing lilt in his voice as she revealed a sleeping mask she’d likely grabbed from her half-packed suitcase.

“Blindfolded drawing challenge” she announced, playfully slapping his shoulder as she sat down in front of him.

Noah grinned, catching on quickly.

“Hm. Not what I expected, but I’m intrigued. So, do I get to blindfold you?”

“Nah-uh,” she said, keeping the mask out of his reach with a smirk. “I’m blindfolding you. If you’re going to help me with Grandma’s garden, I need to check your drawing kills.”

“I’m an amazing artist, Lia, in case you didn’t know,” he said, puffing his chest in mock pride.

“Let’s prove it then,” she challenged, eyes sparkling.

“I’m ready to show you the real artist in the room,” Noah replied, rolling his shoulders as if preparing for a competition.

Lia scoffed.

“Keep your ego in check, Sebastian.”

Lia grabbed her sketchbook and flipped to a blank page.

“Okay, mister. This is your canvas,” she said, placing it in front of him.

Noah sat up straighter, a mischievous grin tugging at his lips as she stepped behind him, slipping the mask snugly over his eyes. Her hands brushed his neck, her fingers lingering for just a second longer than necessary. Noah’s grin widened.

“You’re not secretly trying to turn me on with this, are you?” he teased.

She leaned down, her breath warm against his ear as she whispered, “Wouldn’t you like to know?”

Noah laughed.

“Alright, alright. Just hand me the weapon of choice.”

Lia placed the pencil in his hand and sat back on her heels, watching as he hovered over the notebook with exaggerated focus.

“Alright, Picasso, time to show me what you’ve got.”

“Okay, here we go,” he declared, setting the tip of the pencil to paper. He started drawing—if you could call it that. His lines were uneven, jagged, the kind of shaky curves you’d expect from someone who had no idea what they were doing.

Lia bit her lip, trying to stifle her laughter as she watched the absolute chaos unfold on the page.

“Are you… drawing a person?” she asked, half-choking on her giggles.

“Obviously!” Noah said with mock indignation. “Can’t you see it? It’s abstract.”

“Sure, sure. Very abstract,” she teased, covering her mouth with her hand to keep from laughing too loudly.

He added a few more crooked lines, lifting the pencil occasionally to think before continuing. When he was finally done, he sat back triumphantly, pulling off the sleeping mask.

“And… voilà! A masterpiece.”

Lia leaned over to inspect the mess of squiggly circles and jagged lines. It vaguely resembled a potato with stick arms and what might have been a smile—or a grimace. She couldn’t hold it in anymore and burst into laughter.

Noah looked down at it and shook his head, feigning disappointment.

“Okay, I’ll admit, it’s not exactly what I imagined.” He pointed to one of the misshapen blobs. “That was supposed to be an eye.”

Lia wiped a tear from her eye, still giggling.

“Yeah, I think this guy’s been through something.”

Noah sighed dramatically.

“I need your artistic genius to fix this. Save my poor little guy.”

Lia laughed again but nodded, taking the pencil from him.

“Not from there,” he said, opening his legs and gesturing for her to come closer. “Come here.”

She nestled between his limbs, leaning back against his chest. Noah’s arms wrapped around her, his chin resting on her shoulder. The warmth of his embrace made her smile as she began to work, reshaping his scribbles into something recognizable. Her pencil moved, sharpening lines, smoothing out shapes, and adding playful details until Noah’s chaotic doodle turned into a quirky little character with a goofy grin and big, wide eyes.

Noah watched her, his grin softening as he admired the way her hands worked so effortlessly. The look of focus on her face, her gentle smile as she fixed his mess—it was moments like this that made him fall in love with her even more.

When she finished, she leaned back to admire their combined effort.

“There. Now he’s got some charm.”

“You really are a miracle worker.”

Lia glanced up at him, her eyes sparkling with playful pride.

“I know.”

He reached out and gently moved that stray lock of hair away from her face, tucking it behind her ear. His fingers lingered, brushing against her cheek as his gaze softened.

“You’re amazing,” he said quietly, his voice low and full of warmth.

Lia’s breath hitched just for a second, her heart skipping a beat at the way he was looking at her.

“So are you,” she whispered, leaning in closer.

Their lips met in a soft kiss, the warmth of the room wrapping around them like a blanket. It was a simple, quiet moment—the kind that felt like the calm before everything changed. In just two days, they would be off to Japan, diving headfirst into the chaos of the tour. But right now, in the quiet of Lia’s studio, it was just the two of them, savoring the comfort and coziness of the evening.

When they pulled apart, Lia’s fingertips grazed the skin of his jaw, feeling the rough stubble that had started to grow.

Noah’s voice broke the comfortable silence.

“Have you thought about letting others see your work?”

Lia frowned, her fingers halting, barely brushing his chin.

“What do you mean?”

“I know you sell your stuff online through your site, but I’m talking about something bigger. Like an exhibition, or maybe an illustrated book? I could help with that. I could write the story—like I did for the Concrete Jungle comics—and you could do the drawings.”

Lia’s shoulders slumped as she considered it, her brow creasing in hesitation.

“I don’t know if I’m qualified for that, Noah.”

“Come on.” He shook his head, not buying her self-doubt. “Your work is amazing. Okay, maybe I’m biased, but have you seen how fast our merch sells—the merch that has your art on it? And every time you put something new up on your store, it’s gone in less than forty-eight hours.”

When he noticed the hesitation still on her face, he extended an arm in the air, as if to grasp all the piled notebooks and sketchbooks she had stored on her bookshelves and drawers.

“People need to see all of this, Lia.”

Lia’s brown eyes flickered across the room, her eyes landing on one of the bigger sketchbooks resting against a stack of Bad Omens vinyls.

“Some of them are really dark, Noah.”

“You don’t have to show the dark stuff if you don’t want to—even though darkness is part of life,” he conceded, shrugging his shoulders. “But everything else? Lia, you’re an incredible artist. The things you draw, the ideas you come up with… They’re fascinating, to say the least, and people love seeing fascinating things, whatever it is,” he poked her cheek to get her full attention. “And there’s already a bunch of people that love your art, starting with me and our friends.”

Lia stayed quiet for a moment, her brown eyes searching his, still uncertain but intrigued.

“I already have a lot of work with Bad Omens…” she started, though her tone was more reflective than dismissive.

“Is that an excuse? Seriously? Considering your “boss” is your boyfriend?”

That made her laugh, easing the tension. She snuggled closer to him, resting her head against his shoulder, finding comfort in the warmth of his body.

“Wouldn’t you like that, though? To exhibit your work? Let the world see what you’ve got tucked away in all those notebooks?” Noah’s voice was low and sincere. “You could even write something, turn it into an illustrated novel or whatever you want.”

Lia looked up at him, and for the first time, there was a glimmer of real possibility in her eyes.

“Yes. Yes, I would,” she said, her voice filled with quiet honesty.

Noah’s excitement was imminent.

“I can help you with ideas. Maybe I can doodle something and you can improve it if you ever feel stuck or…”

Lia laughed, nudging him playfully.

“I think you should stick to writing. I’ll handle the art,” she said, picking up the notebook they’d been using and shaking it, the potato drawing that Noah had made still on the page.

“Fair enough,” he agreed, wrapping his arms fully around her, squishing her and prompting her to drop the notebook. “But you can’t deny this was the best blindfolded potato drawing you’ve ever seen.”

“I’ll give you that,” she said with a giggle as she felt his lips and nose brush her neck.

Lia leaned her head back onto his shoulder, and they sat there quietly in the peaceful warmth of her studio, perfectly content just being wrapped up in each other. Noah began swaying them gently, side to side, inhaling the familiar, comforting scent of her. Outside, the sun had dipped lower, casting a soft, warm glow through the windows, wrapping the room in a golden haze.

“You fit perfectly in my arms,” Noah whispered, his lips brushing her ear.

Lia hummed contentedly, her heart full as she nuzzled her nose against his chin, tenderly.

“Because it’s where I’m meant to be.”

Noah’s heart swelled with something sweet and heavy, like warm honey filling every corner of his chest.

“Right answer,” he teased, before lightly tickling her sides, causing her to squirm and giggle in his grasp, but with no hope of escaping. He held her close, thrilled by her laughter, by the fact that she was his, completely and utterly.

He couldn’t wait to get on that plane and head to Japan, this time with her by his side not just as his best friend, but as his girl. The thought of them wandering through the vibrant cities and tranquil gardens together filled him with an excitement he hadn’t felt before.

He nibbled playfully at her earlobe before murmuring,

“Off to Japan in two days, baby. You ready?”

We're off to Japan in the next chapter, babes!! 🥳

— prev. chapter | chapter nine

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@sweetwombatpizza | @missduffsblog | @shilohrosechicken | @jilliemiw86 | @alwaysfightforwhoyouare

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#noah sebastian fanfiction #the inevitability of love at second sight #noah x lia #lia x noah #noah sebastian x ofc #noah sebastian fic #bad omens fanfiction

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murasaki-cha · 1 month ago

Text

Cale and the Soos but Gen Z

(ft. Choi Han, Alberu and Rosalyn)

(Part 1) (Part 2)

Cale: when I say I have "main character energy," I mean the nerdy introvert with anxiety and a general distaste for humans - Shapeshifter: *transforms to look like Cale* Cale: Okay, are you like BLIND? You look nothing like me. First off, I'm way taller. Secondly, I DO NOT look so sleep deprived and lastly, if you could drag comb through that hair you're like a 7 on a good day and I've been told I'm a constant 10. -

Cale: Babygirl I have health problems that would make a grown man cry- yeah of course I'm still going to work what are you talking about

Cale: I love having trauma from an alarmingly young age because when I can't remember stuff from my childhood I get to play a game called "Is This Normal Memory Loss From Growing Up, Or Do I Have Severe Trauma-Induced Memory Repression?" Choi Jung Soo: Oh word Alberu: Preach Choi Han: Fr Eruhaben: Genuinely what in the- Sui Khan: Louder Eruhaben: YOU ARE 13 WHA-

Sui Khan: 'Person of interest' is almost too flattering. Sui Khan: Like, if the police were to pound on my door and go, 'A man has been murdered in your building and you are a person of interest,' I'd be like, 'Moi? Oh, do go on.' Cale pointing: You see where I got it from?

Rosalyn, eating cake: No wonder Marie Antoinette didn't give a fuck, this shit is good Cale: so true girl

Cale: when Billie Eillish said "I cant escape the way I love you" every gen z kid with attachment issues felt that Alberu: So you felt that? Cale: I felt that too much Alberu: Also who is Billie Eillish? Choi Jung Soo slamming the door open: bITC-

Cale: bitches b like “I'm baby” but have childhood trauma and neglect like wtf do u know about being baby u were forced to grow up from an early age anyways I’m bitches

Rosalyn going to her lesson with Eruhaben: Eruhaben-nim, are we cooking today or what! Eruhaben: Rosalyn, we aren’t… in the kitchen?

Cale: With all this tasks I'm getting from the gods sometimes I wish I was Jared 19 so I never read Birth Of A Hero...

Alberu: Not trying to brag or anything, but I can wake up without an alarm clock now simply due to my crippling and overwhelming anxiety, so... Cale: Mood

Heavenly Demon: do you guys know the meaning of patriarchy? Choi Jung Soo: I prefer Spongebob tbh Heavenly Demon: One more word from you Sword Demon and I swear-

Cale: Can I go outside to say a word to god? Choi Han: Yea. Rosalyn: You go outside and start yelling ‘hey what the heck are you!- then ZAP! Cale: I've questioned god before and I haven't died yet.

Choi Jung Soo: I so wish I had a cat personality but I have such a dog personality like I would do everything for your approval, do you want me to fetch your stick just for a lil treat , hell yeah I would with pleasure! Choi Han: Oh that's what it was!

Choi Jung Soo: Physically, yes, I could fight a bird. But emotionally? *Sees Sui Khan's cute 13 yo child appearance staring daggers at him* Choi Jung Soo: Imagine the toll.

Cale: So apparently the 'bad vibes' I’ve been feeling are actually severe psychological distress

Cale: A weight blanket is not enough I need to be compressed into a .zip file

Cale with a wine glass in hand: Existence is the enemy The group also with wine glasses in their hands: Cheers to that

Cale: Sometimes that sad feeling is due to low blood sugar, and sometimes it's from decades of history. Not that complex

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linkspooky · 1 year ago

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Dr. Venture vs. Enji Todoroki: How to Write Bad Dads

This is a post comparing two shows about two abusive dads who are the main characters instead of their children. My Hero Academia is a Shonen jump manga that takes inspiration from American comics and shonen manga. Whereas The Venture Bros is an adult swim cartoon that started out as a parody of Johnny Quest, and grew into a seven season long character study of former child star Rusty Venture.

The idea for this post came from the fact that I've noticed a common hot take from MHA fans that Endeavor's redemption arc is bad because it's wrong to make an abuser the main character.

I've always disagreed, and used The Venture Bros as an example of a show where making an abuser the main character works. Rusty is actually a well-liked character in the venture bros fandom. So my question is if these characters are both abusers why is one of them generally accepted and the other one so controversial?

Before we begin I want to say this is a story with fictional characters. Don't bring real life into the equation. We are doing literary criticism here and only talking about the events that happen in the story.

Anyway, My Hero Academia and The Venture Bros seem like the weirdest shows to compare but they are actually pretty similar. They are both comic book shows that are commentating on the comics they're inspired from.

What My Hero Academia is to Spiderman and Dragonball Z, Venture Bros is to Tom Swift Novels, the Hardy Boys, and old Hanna-Barbera Cartoons. They also make the decision to focus on the characters as people rather than heroes. They are telling the stories of real people that exist in a world overflowing with both heroes and villains.

1. Meet the Venture Brothers

If you've heard of the Venture Bros then you've probably heard of the premise that it's an adult parody of Johnny Quest. Johnny Quest for those of you who have a life and therefore haven't seen every old Hanna-Barbera Cartoon like I have is a show where eleven year old Johnny Quest travels around the world with his super scientist father Dr. Benton C. Quest and their bodyguard Race Bannon, going on adventures in Jungle Ruins or fighting villains.

In the Venture Bros the main character Dr. Thaddeus Venture is an emotionally abusive and neglectful father who constantly exposes his sons to danger in his trips around the world. Their bodyguard Brock Samson is a ultra violent and is basically a thirteen year old's idea of what a cool manly man is. The titular Venture Bros, Hank and Dean Venture are sheltered children who are constantly being chased around by men in costumes trying to kill them.

So the basic premise of the show lies in it's dark deconstruction of shows like Hardy Boys, Johnny Quest, these Tom Swift-esque stories where young boys go on adventures by showing the real dangers that children would be exposed to in that kind of life.

Between Johnny Quest, the Hardy Boys, and Tom Swift, what is up with these pie-eyed youths chasing pirates and international diamond thieves and stuff like that? They would get their throats cut the minute that stumbled upon a hideout. And that would be the gag. - ART AND MAKING OF THE VENTURE BROS.

The show does explore Hank and Dean's trauma, but despite the title of the show they are not the main characters. The protagonist is Doctor Thaddeus Venture who himself is other victim of the Boy Adventuring Lifestyle.

Dr. Venture: "Who was, for 43 years, the only son of Dr. Jonas Venture? Who, from the ages of 3 to 17 accompanied him on hundreds of adventures the chilling memories of which rouse him from sleep in a cold sweat to this day?"

Thaddeus used to travel around the world with his father the super scientist Dr. Jonas Venture who was a far more successful super scientist and hero. He's the former star of the "Rusty Venture Show" a cartoon based off of his travels with his father.

Jonas who continually neglected and gaslit him throughout his childhood to the point of not allowing him to go to therapy. He gaslit him so hard there's a scene where he literally pretends to be Rusty's therapist to tell his son to stop complaining.

Rusty: "So I don't know. Sometimes I wish I could just be a normal kid and go out and play with kids my own age and stuff. The only people I get to hang out with are grown ups. The only time I get to leave the compound is to go someplace creepy, like the Bermuda triangle, and then I get kidnapped, by grown ups. And I'm not even sure I want to be a super scientist when I grow up anyway, but I feel all this pressure because of my fa-It feels weird telling you this stuff." Jonas: "Remember Rusty, in here I'm your doctor not your father. Now let's get back to it shall we. You were telling me how you're ungrateful for all the opportunities your father's given you and you blame me for all your problems."

Rusty is both a washed up child star, and a faiilure to his father's legacy. He never formed an identity outside of being the star of the Rusty Venture show or the son of Jonas Venture. He drags his kids all around the world on crazy super science adventures because that's what he knows.

The central premise of the Venture Bros is that Rusty is basically stuck and cannot meaningfully grow up into an adult and his own person, despite the fact he is now a single father trying to raise two sons. The central theme is about three generations of one family, and what it says about the complicated nature of family itself,

As Rusty is both the victim and the perpetrator of the abuse it makes sense he is the main character the story centers around because he's the central link between Jonas and the Twins.

The themes can be summarized in one line said towards the end of the show:

BEN "Just a watch. Tells the time in two time zones. That fourth hand there? Little date window? Those are called complications. Complications make a watch special. More complications the more value. Read the engraving Jonas put on the back there. Elige Tua. It's Latin for Choose your family. Blood doesn't make a family, love does. Choose your family and remember that complications make it special."

In other words it's a seven season long show on how family is complicated.

2. Keeping up with the Todorokis

My Hero Academia is about a lot of things, but the central premise is that in a society where he quirk you were born with can determine a lot about your life, one boy without a quirk sets out to prove that anyone can be a hero.

If Complciations make it special is the central theme of Venture Bros, then the central theme of My Hero Academia is two sentences. "All People are not created equal" and "Anyone can become someone's hero" both said at different points in the story. The story itself is about Deku's attempts to overcome the first statement, that he was not born equal but he deserves to be a hero as much as anyone else because he represents the true spirit of heroes. That heroes don't just show up to beat the big bad, a hero saves people.

The story isn't just about Deku though. We're not even going to talk about Deku in this post, but rather the Tritagonist Todoroki Shoto.

Todrooki is introduced as a foil to Deku someone who is born with an extremely powerful quirk, but who's been groomed from childhood to be a hero.

Shoto's father Enji Todoroki is All Might's ultimate rival. In the world of MHA hers are highly commercialized and ranked by popularity and achievements and Enji has been number two his entire life. He decided to conceive of an heir that could surpass All Might instead.

He purchased a wife with an ice quirk for an arranged marriage to selectively breed for a child with a fire and ice quirk. When Shoto was born he raised Shoto up as a hero, forcing him through grueling training sessions from a young age, and beating his wife when she tried to intervene for Shoto's sake.

That's a lot and I didn't even cover all of it. After this reveal of Shoto's backstory, Enji seems like he's only going to be a one note abuser to give Shoto a tragic backstory to angst over.

However, later on in the show Enji ifinally becomes the number one hero only to realize how empty his lifelong dream has been. He feels remorse for the family he destroyed in pursuit of that dream and starts wanting to make ammends. After this , Enji basically becomes the second most important character of the "Todoroki Family" arc. . A lot of focus is put on Enji's attempts at atonement to the point where some accuse him of stealing the spotlight from his victims.

These two families have a lot in common. They are basically families who are not allowed to have normal lives because the patriarch of the family is a costumed hero. The hero is also someone who is generally well-respected and is considered extremely successful in their chosen career, but are terrible to their family members. They are a hero to the world and a villain to their own family.

If there is a central premise to the Todoroki Family outside of MHA's analysis of what exactly makes a hero, it's this:

Todoroki Shoto: "As a hero this endeavor guy is pretty darn amazing. But it's just like Nasu said. I'm not ready to forgive you... for abusing mom. So, heroics aside. What sort of dad are you going to be? That's what I want to find out?"

The challenge is if Endeavor can choose his family over being a hero.

You can se the parallels in Venture Bros, as Rusty's main struggle is to try to be a father to his twin sons and help them grow up while at the same time struggling in this dangerous worlds of super science. Rusty is a super scientist constantly getting chased around by guys in costumes, but he's also a normal father trying to raise two sons into adulthood with basically no idea what he's doing because he doesn't have a frame of reference for how fathers are supposed to act or what a normal childhood would even look like.

The comic book super scientist, and the comic book hero are expected to act like real fathers to their sons.

However, as I said above in Rusty's case it's pretty uncontroversial that he is the main character of his story, whereas Enji starts fights within the fandom very time he appears onscreen.

Why is this exactly?

It's not because it's offensive to have an abuser be the main character, but rather how these characters are written and how well they fit into their stories. As I said Rusty is naturally the main character of his story because he's the central link in the chain of abuse, but should Enji be the main character of the Todorokis? Does he fit as well as Rusty?

3. Who's your Daddy?

So as stated above Enji and Rusty simultaneously exist in worlds where heroes exist and yet they are also normal people who are expected to provide for their families and raise their kids. They both exist in what is basically the marvel universe, though in the case of Venture Bros it's the Marvel Universe fused with old Hanna-Barbera cartoons.

Because of this world some of the things both Enji and Rusty do are things that have no real life parallels. For example Rusty once created a machine using the soul of a dead orphan as a power supply. You can't do that in real life so I'm not going to use that as an example.

Both of these stories are drawing on real life parallels of parental abuse I'm going to be talking about those to tell what kind of neglectful parent each is.

Rusty raised Hank and Dean Venture as a single parent with the assistance of their body guard Brock Samson. They live on the Venture Compound and only leave when Rusty needs to take a trip around the world. Obviously, there's not many real life examples of parents taking their kids into egypt to fight mummies.

However, Rusty's main flaw as a parent is how much he shelters his children not allowing them to make their own choices. They are homeschooled until they are eighteen and almost never allowed to leave their home unsupervised. Rusty could be compared to a helicopter parent that feels the need to micromanage every aspect of their child's lives, sheltering them so much they're unprepared for the real world.

Rusty is a weird combination of controlling and neglectful, because while he doesn't let either of his childre go to public school aor interact with kids their own age, he constantly exposes them to danger. He is often disinterested in his kid's lives and puts most of the burden of protecting them and raising them on his bodyguard Brock, while he chases after whatever super-science project is occupying him at the moment. He's neglectful to dangerous extents too considering they're always getting cahsed around by crazy men in costumes.

Also, he lets them die a lot.

Hank and Dean have died several times over, only to be replaced by clones that Rusty grew in a lab with all the same memories. Once again there's no real life parallel to this, but it's interesting in the context of the show itself.

How do these children survive being chased by villains and constantly kidnapped? The answer is, they don't.

They die, and then Rusty just clones a new pair of boys. That in itself should make Rusty irredeemable but the show presents it in a more ambiguous light.

Dean: "You're telling me I'm a clone, that I'm not even Dean, that I'm some stupid science experiment." Ben: "No, no, no. You're Dean. There's no other Dean, you're it, flesh and blood. Look I was conceived in the back seat of a packard, you were conceived in a tank. So what?" Dean: "So I have no mommy? No nothing!?" Ben: "Dean, you have it all wrong. You have a mommy, and your dad is your dad. They made you by getting drunk and forgetting to wear a condem like everybody else, and your dad loved you so much that when you got a boo-boo, he kissed it and made it all better and made it go away." Dean: "You brought me back to life." Ben: "Yeah okay, well you and your brother had some pretty big boo boos. Have a kid one day, Dean. Hold it's lifeless body in your arms, and then tell me how wrong it is. Jonas, me, and yes your dad, saw it as nothing more than a fucking band-aid for a really big boo boo."

In the story itself it brings up the argument that if any parent was holding their dying child in their arms they'd want to bring them back somehow. That in the logic of the show it's the same as using magic to revive someone from the dead. At the same time it's not because Rusty's let his sons die multiple times and never changed his lifestyle because he can just keep replacing them with clones.

Super-science aside, it is kind of a metaphor for Rusty's parenting as a whole that his sons have been cloned and replaced so many times they're perpetually sixteen and never allowed to grow up. Rusty's so neglectful he's never taken an interest in raising them and this is the result, they literally do not grow up.

It's also probably relevant to mention that Rusty himself is a clone and died and was replaced multiple times much like his sons, and the technology for cloning Hank and Dean was invented by his father Jonas.

However, after season 3 the cloning lab gets destroyed, and the body guard Brock leaves the family. With the safety net removed Rusty actually starts taking a more active role in both of his child's lives. This is basically a mirror to Endeavor's moment of realization after getting number one hero that his entire family has grown up without him and they all resent him.

Season four onwards Hank and Dean develop into their own people outside of Rusty. He responds to them in different ways but he's actually parenting them this time instead of shoving them away like annoyances. Hank becomes rebellious and fights back against Rusty for a long time after Brock leaves because he no longer has a role model and Rusty's response is to always get strict and punish him.

Whereas when Dean rebels not only does Rusty tolerate it, he also spends a lot more time in Dean's life trying to push him into the direction of being a super-scientist like him, supporting his efforts to go to college, while basically ignoring Hank. It's a running gag in the show that Dean is obviously Rusty's favorite, but even when playing favorites Rusty by this point in the show has reasons for why he's making those parenting choices.

Rusty: "Dean believes in this crap! He should have been Rusty Venture, Boy adventurer. Hank got this life thrown at him. And he fights against it. Just like I did."

Rusty playing favorites comes from an attempt to overcorrect for both children. He rejects Hank because he believes Hank doesn't want to be a boy adventure and therefore pushing Hank away from his family and the Venture lifestyle is what he needs. Whereas, he believes that Dean embraces the super scientist lifestyle and he tries to mentor Dean into another scientist like himself therefore he gives Dean most of his attention because he thinks Dean needs that guidance from him.

Of course, Rusty is totally wrong about his sons. If anything Hank is the one who wants to be an adventurer whereas Dean just wants a normal life away from his crazy family but parents often misunderstand their children. He's not actively malicious, he's just misguided in what he thinks is best for each of his sons. He's not really even playing favorites in this case he's choosing to parent his sons differently based on what he thinks is best for each of them, it's just in this case father doesn't know best.

Rusty isn't a stagnant character, but also there's no big redemption arc for him the way there is Endeavor. Rusty never narrates about how he needs to atone for his past mistakes. The result is Rusty is a far more amoral character than Endeavor because he's not trying to atone but the narrative also isn't trying to spin Rusty in any way. It's just showing you Rusty as he is, and with all the bad things he does he's still capable of loving his sons.

The question isn't really "Is Rusty redeemable?" but "When is Rusty gonna grow up?"

Then there's Endeavor (everyone starts booing) who is simultaneously a much better, and far worse person than Rusty.

Enji is honestly more comparable to Jonas, an incredibly successful hero who built a career and an empire in heroics and fame and then tried to force his son into that same lifestyle.He's the exploration of that same idea a supposedly great man with skeletons in his closet. Enji technically has saved thousands of people (such as Hawks one of the other main characters). A person who is so good at playing the role of a hero no one would ever expect there are skeletons in his closet.

"Rusty's father was more successful than you could ever imagine. Jonas Venture Sr. was a manipulative narcissist admired by the world for his scientific accomplishements and his hyper-masculine James Bond meets Doc Savage public persona. He's a geniuine villain who was able to take everything he wanted from the world by seamlessly fitting into the role of everyone's hero." [Source]

Jonas is like showing everything nasty about using someone like James Bond as a male power fantasy. He treats women like objects, he thinks he's aboe good and evil, he's effortlessly charming and suave and uses that to get what he wants out of people. Enji similiarly is everything that is wrong with the ideals of hero society. A society that glorifies flashy, strong quirks that are the best for taking down villains. The only person who even seems to care that he's number two is Enji himself, beause Enji is otherwise rich and succesful, a pillar of the hero community, and allowed to get away with a lot because of his position and influence.

Enji is at least a better hero than Rusty, because Rusty is an incompetent mad scientist who does stuff like mutate college interns into four armed freaks and build death rays.

However, as a parent strip away his status as a hero and Enji is little more than a show parent, pushing his children into a life they don't want in an attempt to live vicariously through them. Once again, resembling Jonas more than he really does Rusty. As Jonas forced Rusty to be a boy adventurer, and then made a cartoon out of it to make money like any show parent.

It's also the idea that generation put that kids into films and it was a very horrible selfish thing to do, they were doing trying to live out their own lives through their kids. That didn't exist before that was something that boomers brought to the world. "Oh I can't be these fun new things I'll make you be it." I think Jonas was a pioneer of throwing his kid at the world. I think Jonas was something of a boy adventurer himself, and made his kid be it. But also put his kid on TV to cash in the residuals. Jackson Publick, DVD Commentary

As stated above Enji gave up on his ambition to be the number one hero and so he decided to create a son with the right quirk to surpass All Might. He then pressured a woman into an arranged marriage, basically purchasing her from her parents and conceived four children until he got his designer baby.

Chapters 301-302 the wrong way to put out a fire, detail the slow descent of the Todoroki Household from Enji entering an arranged marriage with bad intention to create an ideal child to be heir to his legacy, into a full on child abuser. Enji is written like a normal person falling into a cycle of abuse, he never intended to hurt his children at first. Abusers aren't evil monsters, they're just people. Most abusers don't even think of themselves as abusers.

In fact he's shown positively bonding with his first born son who seems eager to learn to use his fire based quirk. He even mentions that he was alright at the time with the idea of Toya being the one to succeed him and letting go of his quirk experiment.

Enji only had kids to carry on his legacy, and only bonded with Toya because Toya was eager to participate in the training and become his heir. However, to give Enji some backstory it's quite clear the death of Enji's own father at a young age left him with no idea on how a father should act.

At a young age Enji witnessed his father attempt to save an innocent girl only to end up a burnt up corpse, and probably at that point conflated strength with being a good father. If his father had been strong enough he would have survived and continued to be a father to young Enji. At that point it's almost understandable that Enji thinks in his mind that earning his keep as the patriarch of the family, and being a powerful hero who will come home alive is the same thing as being a good father.

So Enji conflates masculine ideals of strength and heroism with being a good father, all the while not actually showing up to parent his kids. When Toya seemed like he could live up to Enji's expectations and be strong as a successor everything seemed fine.

However, Toya turned out to be disabled at which point everything in the household began to spiral out of control. After learning Toya could not use his quirk without burning himself, Enji tossed Toya aside and left raising him entirely up to Rei and then pressured her to have more children until one with his ideal quirk would be born.

Toya did not like his father ignoring him and began acting out for his attention. The response of everyone in the household was to politely tell Toya to shut up, because Enji while not being a parent is the money maker and authority in the household no one can stand up to him. When Toya's acting up got too out of hand, Enji would even hit Rei instead of just personally dealing with his son.

At the same time Shoto was finally born and being given his perfect heir after four attempts, Enji eagerly began training him. When Shoto resisted him, Enji stepped up to threats of physical violence and long grueling training sessions to force him to learn. All the while Toya continued to mentally spiral.

One day after his flames turned blue Toya asked his father to meet with him on Sekoto Peak. However that day Enji didn't show up, and Toya lost control of his flames starting a massive forest fire that killed him. Rather than changing anything after his firstborn's death, he doubled down and pushed Shoto even harder.

While being a far worse person, as a parent Rusty is far less malicious. He neglects his kids similarly to Enji at first, but when the safety net is removed and he can't keep cloning them anymore he actually does start taking a personal interest in their lives. Maybe it's too little too late because it's the 14th version of Hank and Dean but he does hear the wake up call and change his ways as a parent.

Enji always doubles down on ignoring his sons in favor of heroics when given the chance to be a father.

Even post redemption arc Enji behaves in the same way. There is no point in the story so far where Enji actively chooses to help or be a parent to one of his sons, when he can choose to be a part of a big important battle instead. Let me break out the list:

In the Pro Hero Arc Shoto sets the challenge for Enji to show what he can be like as a father rather than a hero.

In the internship arc Enji trains Shoto up as a hero but not a father. When he brings the family home to dinner they're attacked by a villain and Enji stands and watches as his son Natsuo gets kidnapped y a villain because he felt like it would be too awkward if he saved Natsuo because then Natsuo might feel inclined to forgive him.

In the War Arc aftewards Toya is revealed to be alive the entire time, and when given the chance to see his dead son come back to life, Enji not only does nothing but he sits and watches as his oldest son tries to kill his youngest without trying to talk to or appeal to Toya.

After the war arc, Enji doesn't bother looking for Toya and goes back to his job as a hero hunting down AFO. He also makes a promise to Shoto that they'll search for Toya together, only to break that promise multiple times.

In the second war arc, when Enji is given a chance to face Toya face to face, he instead sends his other son Shoto to fight him, while Enji fights against the big bad instead as the number one hero.

When Toya is literally dying and about to burn himself alive in front of him, Enji who has chosen to run away from Toya too many times by this point picks the murder suicide option and chooses to try dying with his son in a heroic sacrifice.

Every single chance he is given to act like a father, he acts like a hero instead. Enji Todoroki never steps out of the role of the hero Endeavor. Internally he's changed, yeah. He's remorseful now and realzies what he's done wrong. However, externally he hasn't. He doesn't do anything different. He neglected his family for his job his entire life so his way of making it up to them is... to keep going to his job.

The problem isn't whether or not he deserves to be redeemed, but rather that there's no change in his actions. Endeavor at the beginning of the story would have shown up to fight AFO in the war arc too, because being the hero is what he does. It's the only thing he does. The story never asks him to be anything other than a hero.

Which is I think a fundamental difference in Rusty and Enji in how they're written. Rusty is a flawed parent, but he's still a parent.

He does favor Dean over Hank, but that favoritism takes the form of him giving Hank more chores when Hank acts out, but when it's time for Dean to rebel giving him space and letting him have his own separate room in the attic. It's Rusty letting Dean have access to the family checkbook so he'll have spending money at college, but cutting Hank off from the checkbook because they agreed if Hank didn't want to go to college he needed to find a job to support himself.

Rusty is parenting these children. He's parenting them very badly, but he's still their parent. Enji never wanted to be a parent to begin with, he wanted to be his kid's abusive gymnastics coach. He wanted a prodigy that he could push and push until they won gold at the Olympics.

If you ignore the fantasy elements then you're left with how these men are shown interacting with their kids in their day to day lives.

Rusty has absolutely no idea what he's doing, so even when he has good intentions he screws up. However, he is making an effort to guide these kids.

Enji was an intentional manipulator more in line with Jonas. He controlled everything in the household, and was actively trying to groom Shoto into someone who would obediently carry on his legacy. He made the choice to isolate Shoto from his siblings so he'd have more control over him. Rusty keeps Dean and Hank away from kids their own age and from having a normal life because he never had a normal life. He doesn't even know what a normal life looks like.

Enji for most of his life didn't want kids, he wanted heirs. He even purchased a woman so his heirs would turn out with the right genetics, and tossed aside the ones that were disabled or born with the wrong quirk.

Rusty made the decision to become a parent on his own. In the last twist in the series it's revealed Dean and Hank had no mother. They were conceived in a test tube, raised in an artificial womb by Rusty himself. He is both their father and their mother. Kids were a deliberate decision on his part. He wanted to have a family, probably because his own childhood was so deprived of any familial love.

Dean: Okay, so who is our mom? Rusty: Seriously, Dean haven't we had enough family history for one day? I don't even know who my mom is. All you need to know is that the person who gave birth to you. I promise they do.

Remember as stated above the central thesis statement of Venture Bros is "Elige Tua - Choose your family". Rusty chose to bring those kids into the world because he wanted to be a father, it's an active choice his character makes.

Whereas the central statement of Endeavor's arc is "So, heroics aside. What sort of dad are you going to be? That's what I want to find out?" but we never witness Enji doing anything outside of being a hero.

Even post-redemption the only time he ever spends with Shoto is when they're either doing quirk training or working as heroes together. Toya as a character presents this challenge to him, because he's Enji's son, but he's also a villain who's killed innocent people. If he's acting as a hero he has to put a stop to Toya, but a father is supposed to put the safety and well-being of their children above everything else.

We never see Enji make that choice to be Toya's father over a hero. Which is why in story he comes off as a worse father than someone like Rusty, because he never makes any attempt to emotionally bond with his children.

Rusty will sit Hank and Dean down and tell them stories from his childhood. He'll find common ground with his sons to bond over because they've both been subjected to the boy adventurer lifestyle.

Rusty: Dean what are you doing? Dean: Hyperventilating into my knees. That smell a little like spit up... because I spit up a little. Rusty: Dean, you just baby burped onto a speed suit. Not a super scientist alive that hasn't coughed a little acid onto his speed suit. Dean: Really? Rusty: Why do you think these things are like 95 percent polyester? You can clean off fear-vomit with a wet nap. Dean: I thought you were used to this. Rusty: Dean I remember when the action man would wake me up with a gun pointed at my head. He'd just hold it there and pull the trigger. I'd hear the click really loud because it was right against my forehead. Dean: So it echoed. Rusty: Right, it sounded like he snapped one of my teeth out. Click! Then he'd go, "Not day Rusty. Not Today." Dean: Golly, and you took it because you had to? Rusty: No Dean, I took it because I was Rusty Venture. Boy adventurer. I didn't ask for this life, Dean, but it's mine. Sure, I fall down in the Speed Suit but I get up and Wet-Nap my puke off.

We never get any moments like this with Endeavor and his kids.

He only goes so far as apologizing for his past abuse. Yes, maybe it's cathartic hearing an abuser apologize for what they've done but that's not the question the story was asking. It wasn't asking "Can Endeavor be forgiven?" It was asking "What sort of dad are you going to be?"

The narrative challenged him to learn to act like a father to his family, and he never did. He stayed in the role of hero from beginning to end. It might be cathartic for his victims to hear him say sorry, but it's not good for Endeavor as a character because he hasn't changed and we've learned nothing about him. We already knew he was sorry at the beginning of the arc. Endeavor is sorry and knows he's done something wrong has already been established, but by Endeavor stepping out of the role of hero and acting like a father we could have learned something new about him or his character but no he stays the same from beginning to end.

They're both awful people but at the end of the day Rusty is a father, and Enji is not.

Stories are kind of like essays your English teacher used to force you to read. You need to make a thesis statement in the story itself, and then have evidence to support that thesis statement. The theme of Venture Bros is choose your family, and family is complicated, and in support of that theme we have Rusty choosing to connect with his sons. Jonas is basically nothing more than Rusty's biological father. Rusty's chosen a different way to connect with his sons, and he is their dad, and they can bond about the complicated lifestyle of being a Venture together.

The actions Enji takes in his story don't line up with his thesis statement. The Todoroki Family subplot is supposed to be about how one family was messed up because Enji only chose to have a family to further his career as a hero, and choosing his career again and again made things worse. The thesis statement was that Enji needed to choose to be a dad, but he's never shown doing that in the story.

So Enji as a character seems like he doesn't fit in with his narrative. Which is what I said at the very beginning about Rusty and why he works as a main character. Rusty is the center, because he's had this horrible life inflicted on him by his father, and he's in the process of raising his sons but he still has a chance to choose to be better.

Enji could also work as the center of his story, he has a chance to choose his family over his work as a hero, but he's ultimately not the one who does that, it's Shoto. Which yes Shoto is the main character of the Todoroki plotline, but by the end Enji's gotten as much screen time as his son. If the plot was going to focus on Shoto and his choices to begin with then he should have been the central point. You spent a lot of in story time asking this question with Enji on whether or not he's going to be able to choose to be a father over a hero, and who Enji is outside of being a hero only to not give the audience any answeres.

This again has nothing to do with Enji the person and whether I think he's likable or not, because Enji's a fictional character. He's an idea. If writing is communication, then a writer is trying to communciate some idea with every character in their novel. We're asking what is the author trying to say with Enji, and do they do a good job of getting that message across?

4. What's the Big Idea?

So the above section was mainly about the personal arcs of each characters: How do both of them fail at fatherhood and do they learn to be better fathers over the course of their narratives?

However, these characters are part of a much bigger world. How a character interacts with both the world around them, and the extended cast of characters is another way a story relates it's theme.

Venture Bros and My Hero Academia both exist in comic book worlds. There are people running around in costumes calling themselves heroes and villains and fighting each other on the streets.

In My Hero Academia heroes are basically professional athletes who sell sports drinks and pose for ads and compete for rankings on a big board, and heroics for the most part has been reduced to a day job for people with particularly powerful quirks. Heroism is an entire industry that's for profit, and run by the shadowy hero council who has far more power over their society than they let onto. You could compare Endeavor being the top hero to him is like a combination of being the best pro athlete, and also the best salaryman ever.

Ironically, the worldbuilding of Venture Bros is pretty similar. In Venture Bros. the villains are all unionized. There is a super villain trade union. It's a secret organization known as the guild of calamitous intent, which makes villainy into a bureaucracy.

All villains in the world have to register with the guild. If you're a part of the guild you receive the protection that the guild offers, as long as you follow the guilds rules and regulations. There's lots of small rules, like you can't torture someone who's having a medical issue, and if you're fighting a good guy and they have a doctor's appointment you have to let them go.

They even rank heroes and villains by their threat levels called "EMA LEVELS (equally matched aggression) and then assign you a hero who's about your equal so you won't get killed by someone way stronger than you. The guild basically decides who you're allowed to fight as a villain and picks a hero for you. The act of being someone's arch villain is called "arching" you show up to harass them once a week like a Saturday morning cartoon villain, fight them, then do it again next week. You're not allowed to kill your hero and you're supposed to follow specific rules. The tradeoff is the heroes won't kill you either, because you have guild protection.

The Monarch: I don't know, just keep it cat and mouse not cat and missile. JJ:: So it's a game? We fake fight? That's ridiculous. The Monarch: No, it's like fencing, it's about the art of the fight. JJ: Well, I'm about to deliver my killing stroke. Then what? Dr. Girlfriend: Then the guild steps up their game. You throw a rock, they throw a knife. You throw a knife, they come to your house when you're sleeping and murder your family. The Monarch: Look Dr. Venture you call the guild and you get the damn rulebook, I'll be waiting.

The justification for why the guild exists is that in world if you didn't give the villains a system with a bunch of rules, then you'd have a bunch of crazy people in costumes running around causing havoc.

Brock: You wanna what? Shoot him? And all his men and his wife? You could steal his cattle, too. Maybe burn his village down? JJ: It's an antiquated system. I mean my father did this fake arch enemy nonsense in the sxities. Maybe my brother is good with this namby pamby guy in a costume chases you around nonsense, but I'm not. Brock: Hey no disrespect Jonas, but it isn't so easy. These guys like their system. It's what they do. You take that away and you're looking at a bunch of pissed off nut bags with ray guns, and giant -- i don't know, a giant octopus / tank with laser eyes.

The villains and the OSI (who are like the GI JOE) of this world have signed a very long and detailed treaty that keeps both sides in a cold world stalemate and lets them fight every week like how the good guys and bad guys fight constantly while maintaining a status quo where neither side wins.

In MHA heroics is a commodity. It's commercialized and sold to the public. Heroes are like professional athletes selling you sports drinks, it's a spectacle to the public, and it's even intentionally made to be that way by the Hero Commission who use heroes as a bright shining light to distract the public while they do shady things like assassinate antigovernmental protestors from behind the scenes. The entire of hero society in MHA is built on the spectacle of heroes.

In Venture Bros heroes and villains are a spectacle too. It's just a job to them. Heroes and villains both show up to work, get in their costumes, fight each other and then go home. In Season 6 of Venture Bros, a parody of the Avengers is actively charging people to provide their services as heroes in the city of New York and you have to sign up for a protection plan if you want to get saved. Then the local mob boss takes a cut of the protection money they're charging.

In both settings the ideas of heroes exist, comic books exist, but the heroes themselves are incredibly mundane, they're just people showing up to jobs and making money for the most part. The only difference really is that in MHA the villains are societal rejects and trauma victims, whereas in Venture Bros they've unionized. In Venture Bros the villains and heroes basically fake fight under strict rules. Even in MHA though the villains need to exist in order to give the heroes someone to fight in front of the public. "Villain" is an actual legal term for a certain kind of quirk criminals with more than three strikes who gets sent to a super max prison if they're caught.

Both of these works are making comic book heroes and villains seem a lot more mundane by deconstructing them with this layer of realism. By making the roles of "hero" and "villain" seem much more mundane, and therefore more human, it also asks us to look at the characters who call themselves heroes and villains as human beings.

The Venture Bros like many richer takes on superhero stories really likes to play with the concept of identity. It's the idea that Good and Evil, Heroes and Villains, are just roles we play. They're not something fundamental or innate they're constructed by the world around us. In the show the main villainous organization the GCI is really just a bureaucracy of larpers sustaining their violent rolelplaying through organized crime. Rich and powerful lunatics who built the world around a game they wanted to play. There's really nothing of substance keeping Rusty on the "Good Guy" side. The good guys are also a mix and match. Shield, GI JOE, FBI. Another exmaple of people who never grew up. Only these people are running things, playing out their childhood power fantasies. They're barely less insane and blood thirsty than the bad guys. So what's even the point of being a good guy in the first place? That's the world Rusty is caught between...[x]

MHA and Venture Bros are both works that feature societies that divide people into two distinct categories "hero" and "villain" and then go on to show that these two categories are not as black and white as they would like us to believe.

Venture Bros features Brock Samson, a character who is ostensibly on the side of the good guys who also highest body count of nameless henchman who we see him gleefully kill onscreen over and over again. There are members of the OSI who are just as trigger happy as the guild so what's the difference between them besides what they've decided to personally identify as? On one side you have the Larpers who are roleplaying villainy, and on the other you have the military soliders who think they're real life GI JOES.

In My Hero Academia you have heroes who are essentially state sponsored peace keepers who suppress anyone who disrupts the status quo with violence, and villains who are rejected from that status quo who eventually turn into violent terrorists. While yes heroes have the responsibility of protecting innocent civilians, most of what heroes do is fight villains, in fact heroes with quirks suited to rescuing people aren't nearly as famous as ones with flashy violent quirks like Endeavor.

You have two sides and one calls themselves villains and the others heroes, but they both use extreme violence as a way to accomplish their goals.

Rusty and Enji are two characters who are caught between these two categories which aren't as distinct and separate as we'd like to believe they are.

Enji is basically the first deconstruction of heroes in MHA. He's a hero who's not interested in saving people, but instead wants to be the strongest and does everything in pursuit of selfish glory.

He's simultaneously the hero with the single most resolved cases in history, but at the same time he's always number two to All Might because he's not "super" enough of a super hero. In a manga where Deku's natural desire to save others make him a candidate to b ahero even without a quirk, we have a character who's a hero for purely selfish reasons. One that only cares about having the strongest quirk because being the best is all that matters to Enji.

In many ways the way Enji treats his family is more like a villain than a hero. Main villain AFO himself comments at one point he wasn't able to manipulate Toya, because his father did too good of a job manipulating him already. In fact you can draw a parallel between his actions of manipulating and grooming Shoto to be his heir, to how AFO raised orphaned child Shigaraki Tomura as his successor.

This is a good use of Enji's character, because making it hard to label him as hero and villain makes us think about who he is as a person instead.

There's an entire episode of Venture Bros dedicated to a villain Mentor named Dr. Henry Killinger, showing up and basically mentoring Rusty Venture when he's at a low point. He gives Rusty money, workers, gets his business up and running again and at the very end reveals that he's setting Rusty up to be a villain to arch his brother as a hero. Rusty is tempted with the idea that he'd make a much more successful villain than he ever would be a hero (because as a hero he's kind of just a loser) but he still chooses to be a hero at the end of the story because he doesn't want to fight his brother.

At which point his mentor, all his hired men, all just walk off and he loses all the money he would have gained and he goes back to being a mediocre super-scientist.

"Doc has the whole thing laid out for him clear as day. This role is here for you. Waiting for you to claim it. You have your nemesis. You have your means. You have the ability and the pain. You can do this and you'd be good at it. And Rusty can look at all of that, everything he's been through and say, "Yeah... but I don't wanna be evil." [x]

Rusty walks away from the chance to be a villain, but he's not exactly a hero either. He runs illegal cloning farms, he does lots of unethical scientific stuff and he's not even remotely the hero his father was considered to be.

Because he doesn't fit well into the category of hero or villain, the show instead asks you to evaluate who Rusty is as a person. He's one of the few characters in the show that's capable of stepping out of those categories.

"That's the great thing about him. Sometimes being disillusioned just means you can see through the whole thing. Sure the whole super science villain game feels stupid. It's not going anywhere. No one's accomplishing anything. It's all violence and roleplay. But at the end of the day it's still real. And it still means something to us. Choosing to be a villain means choosing to be a bad guy. It means relinquishing the premise that you could ever do better, ever actually help anyone. And that's not who Rusty is. He's a scum-bag, but he's a grown up. Even in a show with brilliant characters, old pros, and actual supermen, Rusty is the adult. And adults don't put on rubber masks and terrorize people for fun because that would be fucking silly." - [x]

Rusty spent his entire childhood being terrorized by guys in costumes, so he's now the cynical straight man pointing out how ridiculous this all is. He's the one normal person among the crazies.

Rusty is just too incompetent to ever be like his father. Jonas Venture is scum bag, but he's also a well-respected scientist and a world wide hero. Everyone in the scientific community thinks that Rusty is a joke, and his friends just barely put up with him

Jonas gets away with it because he perfectly fit what society's idea of a hyper masculine strong hero was, and no one questioned it or how he treated his son, whereas because balding, impotent, pathetic Rusty falls so short of toxic masculinity's standards he doesn't get the same respect or leeway that Jonas did. Jonas Venture continually got away with murder, and Rusty can't get away with anything.

He's a pill-popping, middle aged man who ran his father's business empire into the ground who continually gets laughed out of any scientific conference he tries to attend.

He can't be a hero. He can't be his father. He fall short of toxic masculinity's standards. He falls short of everyone's standards. The only way in which he's better than Jonas is that he's a much better father to both of his sons. His greatest triumphs as a character come from bonding with Hank and Dean. Jonas for all his accomplishments wasn't capable of bonding with Rusty because he didn't really care about anyone but himself. Jonas Venture is someone who perfectly fit society's standards of toxic masculinity, but he wasn't a person outside of that.

"Jonas Sr realized this too, but to him, it was a joke. To him it meant being above everyone. Rusty can't be above everyone so he has to meet them at eye level. Part of the bitterness of growing up is realizing that we're all just chidlren who got old. No one knows what they're doing and when you come to terms with that you can look down on people or give them the respect everyone deserves. How you treat children says a lot about how you treat people which in turn says a lot about you." [x]

Now returning to Endeavor we run into the same problem that we did earlier. This whole post is comparing Rusty and Endeavor because they are the protagonists, but Endeavor is far more like Jonas. He's someone who sees through the hero system and only cares about climbing to the top out of his own self interest. He knows it's a game, but he wants to win at the game.

Enji even sort of looks like Jonas.

They're both extremely bulky men at peak levels of physical fitness. Meanwhile Rusty is a balding, short and out of shape middle aged man.

In story Jonas is still widley beloved by the public and is constantly praised, while no one but Rusty is aware of his faults, but there's a reason for that. Jonas is someone who is basically allowed to do anything he wants, because the patriarchy means all of society is built around letting men like Jonas succeed.

Jonas is also someone who literally uses his position as a hero to manipulate people into getting what he wants and glorify himself.

Jonas can casually destroy people's lives, all while still believing he's the good guy because in his world being good guy is just a role to play and he plays it well. One of the best three episodes of the series is the Morphic Trilogy, the opening to season 7 where some of Jonas's past crimes are revealed.

In the past he tricked a married man into making a sex tape with him, and then when that man Don Carraldo aka the Blue Morpho turned out to regret that, he used the tape to constantly blackmail him into doing his dirty work. Killing people in secret while Jonas Venture remained Squeaky clean. After years of being forced to act as a mercenary for Jonas, the Blue Morpho died in a plane crash. Jonas then revived his best friend as a cyborg. He got bored of his new cyborg within a few months and reassigned him to babysit his son Rusty. The cyborg glitched and started to strangle Rusty and then he snaps his friends neck, and throws the cyborg away in the garbage.

Jonas can just completely destroy a man's life because he can. Because everyone around him enables him and no one is going to stop him. Because this is how people in power act when they're given too much power. Because might does not make right.

He's the gold standard. He's the ideal. Who would question him?

Enji occupies a similar position in the story, where he fits the role of a hero so well that even when his family abuse is revealed to the public basically every character and their mom is tripping over themselves to defend him.

Jonas is constantly praised in story years after his death and every bad thing he's done is swept under the rug, but that's because number one Jonas was a manipulative monster, and number two it shows toxic masculinity is a false ideal. This is how Jonas who everyone thinks is the ideal man's man, really acts. This is what he gets away with it, because the thing society glorifies are toxic and bad.

When people bend over backwards to defend Endeavor what does it say exactly? Because we're supposed to believe that Enji's willing to work for redemption even if people don't forgive him. We're not supposed to think Enji is a manipulative monster intentionally twisting people around his finger like Jonas was.

There are some ways Enji is like Jonas, especially in his backstory. He did use his money and influence to buy a woman. Rei was definitely not going to get the option of divorcing him if she actually wanted to leave.

However, in the present time we don't see Enji doing the kind of manipulation that Jonas does, because really he doesn't have to. Hawks does it for him. There is a character in the narrative named Takami Keigo / Hawks who is a little boy that Enji indirectly saved as a child by putting his father in prison. Because of this he is obsessed with making Endeavor live up to the hero he imagined him to be when he was young, and does everything he can to prop Enji up behind the scenes and make him look like that hero to the public.

Hawks is a whole other can of worms, but in effect what this means is there is someone manipulating public opinion in favor of Endeavor so he'll be able to shine in spite of the numerous skeletons in his closet, it's just not Endeavor himself. Hawks also takes away a lot of the active decisions on Endeavor's part. When Endeavor chooses to ignore Toya in the latter part of the story, it's not Endeavor's choice, he's just following Hawks plan to fight AFO. When Endeavor makes a public apology, Hawks is the one who wrote it for him.

The result is that Endeavor comes off as less of a Jonas, after all Hawks is the one manipulating his public image. On the other hand, he's also less good of a character because he's not making choices anymore. It'd be better If Enji was trying to manipulate the public into forgiving him in the wake of his scandal, because that'd be an active choice on his part. When a character makes a choice it tells us something about who that character is.

Horikoshi doesn't want us to think that Enji is the kind of selfish monster that Jonas is, but then who is he supposed to be?

The entire point of this post is to compare Enji to Rusty, but Enji's far too successful to be Rusty. Rusty is a failure in basically everything he set out to do in life. He's the butt of the series jokes. He's the victim in as many ways as he's the perpetrator. He had a lot of money and then wasted it all. None of his inventions are succesful. The scientific community thinks he's a joke, or they don't even know who he is. Women won't even go near him. No one ever defends him. At no point in the story does someone stop and say "Hey, Hank I know your dad's an asshole but he's really good at science so that makes it okay."

Rusty's such a failure at being a hero that he's forced to be a person. He's as equally narcissticic and toxic as his father, he treats women like objects for sex and comfort like his father does, he just doesn't get away with it. You can't point to some heroic feat of his that justifies his toxic behavior because he doesn't have any.

The story however can't stop singing Enji's praises for what a good hero he is. He's never forced to step out of the role of hero and be a person like Rusty is, and because of that the message of his character becomes confused.

Are we supposed to think he's a manipulative narcissist like Jonas is? Are we supposed to think he's an incredibly flawed individual trying to figure out how to be a father late into his kid's lives like Rusty?

Rusty has a clear role in his story, and what the author wants to say with Enji is unclear.

Everyone praises Jonas to death and no one can see him for the terrible purpose he is, because that's the point. Venture Bros is about failure. It's about the death of the space ag optimisme. It's about how much the boomer generation sucked.

From the Radiant is the Baboon Heart Commentary. Question: Did Jonas only keep Rusty around for the press and his cloning tech or did he actually care about him? Answer: . The show has a villain called the monarch, but if you watch all the show the villain is Jonas Venture Sr. He is a bad dad. What you need to realize is that in this kind of baby boomers gen x millenials kind of thing we are of the generation that had bad parents. For the good and the bad of it. The good was we were all left alone by our parents, and we had a freedom in our thought that I don't think the millennials have. Because we made the millennials, and we were like You know what Our parents suck and we're gonna be great parents." And they helicoptered them and they gave playdates. [...] I did hate the boomers, they were awful fathers they were terrible people they did horrible things to our world, and at the time they were celebrated as good people. They were a bunch of hippies and they failed and they did everything wrong that they wanted to fix [...]. You and I are lost people we observed our generation. We are fully aware of it. We observed our parents generation. My actual father was a classic distant father, very bright had a lot of work to do, but I observed that generation and the way that toxic masculinity was set in stone. Just branded onto their tombstone. Toxic masculinity. Our generation grew up wanting to be adults, childhood was something that was not examined. When people were growing up we wanted to be grown ups, we wanted to wear suits, it was something you guys don't have. It was a very different way to grow up. So we wanted to be like this generation that immediately we looked at and went oh my god they're monsters. So Jonas Venture Sr. is a monster.

Jonas is a commentary on how much the boomer generation is glorified, and how much they suck if you look at them critically at all. It's written by authors who were observing basically three different generations of parenting, the way boomers parented, the ways Gen-Xers did in response to that and now the way millennials act as they reach adulthood. Rusty can't escape Jonas' shadow because Toxic Masculinity is set in stone.

The role of Jonas in the story is to serve as an antagonist to Rusty and be the cause of Rusty's struggles, and also his impetus to change because Rusty doesn't want to be like his father. Rusty and Jonas both exist as characters to show the author's observations on parenting through the generations, and yeah it's a very american idea of parenting and family but it's you know... a cartoon made in america.

What is Endeavor's role of the story? If he's a criticism of toxic masculinity he's not criticized enough, because the story spends just as much time glorifying him his obsession with strength and power as it does criticizing him. There's no scenes like this for Rusty to show off how cool he is, or how determined. The story wants you to believe that there's something redeeming in the fact that Enji is always struggling to be the greatest, even though his obsession with being number one is what caused him to abuse his family in the first place

It's criticizing and praising Enji's obsession with power in the same breath, because My Hero Academia can't fully deconstruct toxic masculinity the way that Venture Bros can. It keeps trying to find something redeemable in Endeavor's toxic pursuit of power, but that's the whole point. Toxic masculinity isn't redeemable, because toxic masculinity is toxic. There's nothing wrong with masculinity itself, or the values people traditionally consider masculine but the kind of hyper-aggressive pursuit of physical strength Endeavor chases after is toxic masculinity. In Endeavor's mind men are warriors, protectors and providers and nothing else, and he never learns to be anything else either.

MHA would never treat Endeavor the way Vbros treats Rusty, constantly humiliating him or making him the butt of jokes. It would never make Enji out to be weak or pathetic the way Rusty is.

The central concept of Endeavor is struggle. His chosen hero nae "Endeavor" means to try hard to achieve something. His entire character is based around the concept of struggle. His central struggle is that he's a normal guy trying to compete with a superhero like all might, and everything he does he struggles with even if that struggle is pointless.

However, in the actual narrative itself he doesn't struggle. He definitely doesn't struggle the way Rusty does. Rusty's a lazy, incompetent, and entitled man sitting on a pile of money he didn't earn who thinks he's entitled to more who fails at all he sets out to achieve. Rusty never gets what he wants, and even when he does get what he wants like when his brother leaves him a billion dollar corporation in his will, he bankrupts that company in two seasons. Struggle means that the world isn't going to give you what you want and you keep trying anyway.

Endeavor's never subjected to nearly the same amount of narrative punishment that Rusty is. He's still well-respected. People defend him. He fights in all the major battles of the series and gets victories. No one's disgusted when they hear that he's a wife beater. We are told that he struggles, that the central concept of his character is struggle, but the narrative keeps handing him wins and cool moments.

As I've said above several times, Enji's never really forced to step out of the role as hero because he's not a failure the way Rusty is.

My Hero Academia hits some of the same notes as Venture Bros. It's criticizing apanese hegemonic masculinity, specifically that of salaryman masculinity and the way men in japan completely put their careers over their families. Read about it here in this convenient power point presentation. Enji is essentially an incredibly successful salaryman who has completely disappeared from his kid's lives in order to earn money and success and believes that he's still entitled to be a father because he's performed adequately in his role as earner of the household.

The story does show how giving too much power to the patriarch of a household can cause a house to fall apart. It shows that traditional family roles aren't all they're cracked up to be. Enji is assigned the role of father but he doesn't live up to it. The very rigid and traditional Todoroki Household crumbles because basically everyone fails to live up to their roles. The father isn't present. The mother isn't a good caretaker. The first born is defective. The youngest is given all the responsibility of the first born. No one is able to live up to those roles because maybe those rigid set in stone roles shouldn't exist in the first place.

Once again though, that's all in the backstory. Enji never changes from the Pro Hero Arc to his last showdown with Toya. The story never tells us anything about who Enji is as a person. Therefore, it also never comments on Enji's role as the patriarch. What is Horikoshi using Enji to say about patriarchy besides... it exists?

The story shows you how destructive the idea of patriarchy that Enji represents can be in the backstory, but because Enji doesn't do much for 90 percent of the story it never says anything about how Enji can learn to be a father or if it's even possible for him to be a father this late in the game. Because Enji's story isn't about fatherhood ultimately, it's about him becoming a less selfish hero.

Which might just be a problem with the whole of MHA. Venture Bros is about who the characters are outside of their identity as heroes and villains, but MHA is ultimately more about the optimism of heroes and what it means to be a hero than these characters personal lives.

Rusty is never going to be as sucessful as his father. He's always going to be mediocre, ad even if he's sympathetic he's still a scum bag. However, Rusty has one thing his father doesn't have which are his two sons who he made a deliberate decision to get closer to. Unlike a serial user of people Jonas, Rusty has the ability to actually love and care for people and he chooses to make those connections.

Endeavor never chooses to be a father. He didn't choose to go to Toya's side. He was too busy being a hero and fighting the big bad. As a result of that we never learn anything about Enji as a character outside of being a hero because he never chose to be anything other than a hero.

He also never failed. As I said the narrative kept handing him wins. You'd think never choosing to see Toya would mean he can't save Toya in the end, but in the end of the story Toya's just fine. There are no consequences to his choices. He's revealed to be an abuser to the public but he gets to keep being a hero. Enji never really fails in some big way that forces him to rfelect and change on his actions, so he just keeps doing the same thing from beginning to end.

Which is why Enji doesn't work as a character compared to Rusty. He doesn't fail. He's supposed to be a flawed protagonist struggling against himself, but he never really loses. He's too much like Jonas and not enough like Rusty.

"I think Jonas was something of a boy adventurer himself, and made his kid be it. But also put his kid on TV to cash in the residuals. He was just a shitty parent. When he went to bed he was just, he was moral, and he was fighting the good fight. When he woke up he ignored his son and made his son do terrible things. He voted for nixon like a good american. He was a winner and our show is not about winners. Our show is about losers and people we love." Jackson Publick. n

#venture bros #enji todoroki #mha meta #bnha meta #my hero academia #i put so much effort into this post only two people will read #rusty venture #doctor venture #doctor thaddeus venture #endeavor

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