#ever forgive him or view him as redeemable | Explore Tumblr posts and blogs

mikareo · 9 months ago

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“ ࣭⸰ ★ THE MOON SAYS HELLO. . . ⠀⠀⠀⠀⠀⠀⠀⠀呪術廻船; geto suguru x fem reader ⠀ ꒰ . . part one of three ꒱ . . . word count; 3.6k

⊹ ⠀⠀despite his insistence on never falling in love, suguru fails to stop himself from becoming smitten with his best friend’s beloved. you’ve become a flicker of hope in his darkness— though you’re someone who can never and will never be his to have and to hold.

series contains; if gojo didn’t kill geto n geto was given a chance to redeem himself, redemption arc!geto, human caretaker!reader, kind of e2l but also not really, love triangle, gojo x reader, fluff, major angst, heartbreak, wedding at the end, swearing probably, geto refers to humans as monkeys per usual author's note; rewritten fic, will be 3 parts in total (i'm half done pls be patient w me im a slow writer...)

YEAR ONE, DAY ONE

His face is sore. So sore. It’s red, swollen, and sore after he’s spent the last three hours screaming in frustration with his current predicament. This is absurd, Satoru should’ve just killed him when he had the chance. Geto’s lost count of how many times his palms have slapped his own face; over and over again with wishes that he can wake up from this hellish nightmare the higher ups call ‘rehabilitation’— though he can somewhat still recall the first slap that he’d given himself around the half-hour mark. He’s got a pretty good memory…that doesn’t stop him from hoping his veins aren’t too noticeable as they angrily protrude from his forehead in crimson currents.

He’d rather be dead than imprisoned like this…like an animal…like one of those damn useless monkeys.

The intensity of his wails continue to bounce off of the barren walls— barren aside from the dark mark he’d punched in earlier— and echo like a party of lost ghouls in the bottom of an empty well. Geto feels like a mad man.

He’s only just begun his isolation and he’s already growing mad with boredom.

A huff escapes his lips as he plops himself down onto the twin-sized bed that’s nestled in the corner of his so-called ‘suite’. With linen sheets and a dark maroon comforter, it’s almost a cozy living situation; in another life, Geto could imagine himself cuddling beneath the covers with his favorite book and a soft record playing in the background for some ambience. That world is far far away now. Even if he asked for a record player, he doubts the higher ups would grant him one. He’s their most valuable prisoner, and they’re sure to keep him as miserable as possible until he’s one-hundred-percent pure hearted once more. However, despite their reluctance to grant him the things he wants, these aren’t the worst living arrangements he’s ever encountered and he knows that Gojo did his best to give him the best commodities he could to…well…a highly dangerous criminal.

This is the only path to forgiveness, he reminds himself, constantly trying to be optimistic about the utter absurdity of it all.

Optimism hasn’t been his specialty in a long time; anyone with a working pair of eyes would be able to deduce that, and he despises it. He’s quite rusty with the characteristic and has looked on the darker side for a while now— but wishes that he could be as reckless as he once was as a teenager. He can vividly remember how loud his laughter was with Gojo and Shoko, laughing as they chased each other throughout the school yard and using each other's cursed energy to their advantage in games of tag— but that would be near impossible now. His two best friends can barely look him in the eyes after the treason he’s committed. Gojo views him as a ticking time bomb and Shoko’s healed too many people to count that he’s harmed.

If he stepped one foot out of this room, he believes he’d be smothered on sight.

The Jujutsu Society fears Geto Suguru..

…and Geto Suguru fears himself.

In all fairness, he deserves everything that’s come to him. What he did was awful; mass murdering humans…trying to murder even more humans…harming innocent students…starting a war during the holiday season…the whole gist. There are obviously bad actions from the past that continue to haunt Geto to this day and will continue haunting him so long as he breathes— but that’s all it is now…the past. He wants redemption. He needs redemption. If Gojo managed to reach clarity within Geto’s awful decisions, then maybe he can too.

Geto wants to get better, to be better…not only for Gojo…but for himself.

This is exactly why he and his best friend has devised a plan, one that will hopefully help lead Geto on a better path— a five-year path that will only be completed if he truly wants it to, and a half a decade seems like quite a bit of time to most; but for Geto, he doesn’t know if it will be enough.

For Satoru…do it for Satoru…

He wraps his arms around himself in an attempt to comfort his heart that beats with fear every second of every day. It’s been so long since he’s been hugged by another, and he doubts he’ll ever feel that love and comfort from someone in his life. It’s the first time in a long time that he’s been alone with his thoughts with no one else to turn to; and if he’s being honest, there’s nothing in the entire world that scares him more than his own mind.

“Geto Suguru?”

He doesn’t recognize that voice.

The soft sound comes from seemingly nowhere, startling Geto with a slight jump. Whomever it is sounds frail and weak, obviously intimidated by whom they’re going to be in the presence of in mere minutes; and Geto already finds nothing but annoyance at his new companion. Of course they’re going to have prior judgment. He bets you already hate him for the rumors and stories. He doesn’t really have a choice whether or not you come in, though. Gojo insisted on a caretaker— someone to talk to so he doesn’t go insane by himself— and Geto will do anything to make his best friend happy. So, he stands up and dusts his pants off, making sure to look more presentable, and stalks towards the entryway. His hand meets the knob, yanking it open, and ready to meet the stranger on the other side.

Standing before him is you, a woman around his age. You can’t possibly be older than twenty-six, but perhaps you’re a few years younger. In your hands are various sweets and snacks that Gojo knows Geto loves, balancing on a silver tray that shines more light in the room than he’d care for. The reflections dazzle straight into his eyes, blinding him briefly with a scowl on his face. Of course Gojo would know to send you in with his favorites. He’s so predictable. His best friend is less surprising than he thinks, causing Geto to roll his eyes to the top of his head; though he appreciates the kind gesture. It’s far past dinner, though. Gojo must’ve struggled to convince the others to allow him a proper meal.

“Don’t just stand there, monkey.” Geto commands whilst gesturing to the small dining table in the center of his confined space. “Come inside.”

The instant you stepped into his presence, it was horribly noticeable that you have no cursed energy. Zero. Not a lick of it…and he struggles to hide the disgust with his body language. He can’t help but be annoyed that a monkey such as yourself is going to be in his company for the next five years.

With his distaste for you clear as day, he pulls out a chair for himself and disregards the kind option of pulling out yours prior; expectantly looking towards you with the expectation that you’re going to serve him his meal like a servant.

“Well, monkey…” he trails off disinterested, “I’m waiting.”

You hustle towards him, quickly and efficiently placing the special grade sorcerer’s meal on the placemat before him and taking the empty seat opposite. There’s a small breath you’re holding in, Geto can see it in your throat— it’s suffocating you with fear for your life as your fingers lightly tap the dark wood in a nervous fit.

You’re completely pathetic. As if a monkey would ever have the courage to speak to him. This is ridiculous.

His hands slam against the table with a loud bang. “What are you doing?” he questions, heavily interrogating you as you cower in your seat like a meak mouse. “Does Satoru expect you to monitor my meals?”

He really is nothing but a prisoner, isn’t he?

“What damage could I possibly do with this slob that’s been served to me by the scum of the earth? Start a food fight in the halls? Overthrow the Jujutsu world with a biscuit?” (If that is the case, in your defense, the biscuits are quite hard. There must be a new kitchen hand in training who based them.) This is a horrible day.

As Geto impatiently awaits your answer, a deep breath escapes your lips— perhaps a way to soothe your heartbeat into something less than a record-breaking speed— and you attempt to focus your stress and fear into a fleeting moment of zen. Your large eyes shut for a total of three seconds; one, two, three…before opening again. This time, as his own eyes make contact with yours, they’re shining with slightly more confidence than before as you swallow hard and settle your gaze on Geto— the look in your eyes evolving from that of anxiety to empathy.

“Actually,” your lips rise into a thin smile, “Gojo Satoru didn’t send me here, the higher ups did.”

Your eyes search Geto’s for any signs of discomfort or inner rage that could be boiling beneath the surface of his poker face. It appears that he’s grown even stronger at hiding his true emotions towards humans; however, you can see through the veil. Yes, it’s thick and difficult to brush past, but there’s a slight opening in the center that you peek inside— and what you can see in his heart is a man who simply wants to finally do what’s right.

“The higher ups are aware that Gojo Satoru has a soft spot for you— hell, everyone who knows your name is aware that when it comes to you, he has no reason. He has no right of mind. I’m only here to monitor and report your progress in an honest manner. That’s it. That’s all. I promise I won’t intrude on your life more than necessary.”

Shit.

“I’m sorry, Geto Suguru…but you’re stuck with me.”

It’s as if his left and right sides are arguing between themselves. His good conscience says that he should give you a chance, perhaps you could be different than the monstrous humans that attempted to kill his beloved Mimiko and Nanako; while his bad conscience tells him to let out one of his cursed spirits to devour you where you stand. Listening to his right side would definitely get him his best case scenario…a chance to see his girls again…but the left side would be so much more enjoyable. Oh well. At least the higher ups sent someone somewhat his age and not an ancient and decaying corpse like themselves. That’s a disgusting thought. He’d rather be hugged by a hundred humans than be forced to befriend a higher up. A shiver runs through Geto’s spine as a newfound appreciation for you is birthed within him.

“Do you have a name?” Geto taunts as he begins to pick at his meal, slightly disgusted with the stale quality of some of the snacks but nevertheless thankful that he at least has something to subside his aching hunger. “Or should I just call you ‘monkey’ as I do with the rest of your kind?”

That sound?

You’re laughing?

Your giggles are surprisingly pleasant to Geto’s ears as they harmonize into a song that he can imagine himself listening to each morning. Why did you find that funny? He was quite literally insulting your entire existence. Geto is dumbfounded by the strange humor you seem to have, considering that he was being entirely serious with his question. Humans are so strange. He’s never really been able to understand how your peoples’ minds work, but perhaps he could begin to learn the basics. It’s not like he has anything better to do, and some entertainment would be nice.

He’ll keep you around…it wouldn’t hurt and you can be his companion kind of like a pet.

Pets are cute…

…your smile is cute too.

You smile once more, answering his question with a blush on your face. “Please,” your cheeks redden, “Call me by my name, Suguru.”

YEAR ONE, DAY NINETY-FOUR

“You’re late.” Geto crosses his arms over his chest, exhaling a large breath of air in a loud and annoyed huff as he attempts to seem seriously angered by his new friend’s awful timing.

It’s nearly twenty minutes past the time that you were supposed to be here; emphasis on supposed. He’s been waiting with his eyes staring at the clock, watching it tick and tick as the time passed by with no you knocking on his door. That’s twenty whole minutes of time in which he was forced to entertain himself rather than listen to your rambles and rants about whatever the latest scandal is in the outside world. You love that pop culture gossip stuff that social media and magazines rave about, and in a weird way, you somewhat remind him of his daughters— personality-wise…not attraction wise…that would be weird.

Over the past few months, Geto’s grown severely accustomed to the daily routine that you’ve developed, becoming so fond of you that he strangely pictures your smile and recalls your laughter when you aren’t even here. Friendship is a funny thing. He doesn’t think he’s ever had a friend like yourself; yes, Satoru will always be his closest confidant…but his relationship with you is different in a way that he can’t quite put his finger on. He’s never considered anyone else the highlight of his every day like he does you. Your company is the kind of presence that he overwhelmingly enjoys; with such a positive and warm nature exuding comfort to Geto’s loneliness, and your judgment-free outlook on life rivaling his pessimism in a perfect mixture of negativity and optimism. He wishes he’d met you sooner, perhaps when he was a child— and if he had, maybe he wouldn’t have turned out the way he did.

It’s too bad you would’ve only been an awful human to him back then…he would’ve called you his infamous nickname without batting an eye…a monkey…

…a mere monkey whom he never ever thought he’d develop unwanted feelings for.

For his entire life, Geto always told himself not to fall in love. That love isn’t real. It isn’t obtainable, not when there are people like Satoru in the world— people that you can’t help but love— and then people like him; people who you can’t help but hate. With that being said, he’s never necessarily been looking forward to any potential love matches in his future.

…no matter who he was involved with…

…until he met you.

“Sorry about that, Suguru!” you hustle through the doorway, your appearance a tangled mess with dusty dirt particles littered with gravel.

There’s a large scratch on your right cheek, not deep or in danger of infection in any way, but noticeable enough that he’s able to see it from a distance. Knowing you, it’s most likely accidentally self-inflicted in some sort of way; you being notorious for tripping or snagging your skin on the sharp end of a table. How do you always manage to be so uncoordinated? Geto can’t help but let out a short laugh, his eyes scrolling up and down your body and taking in your entire appearance, dirt and all. You even manage to make dirt look good. What the fuck? He hates this.

Your voice carries on as you approach him. “I was running on time, but then I saw this adorable shop downtown and I just had to make a stop.” The overexaggerated tone you hold is amusing as your hands wave through the air in a physical storytelling of your experience. The skin of your cheeks is flushed red from your sprint through the city, looking beautiful in resemblance to that of a blooming rose.

Geto can feel his own face heating up at the sight of you, choosing to shrug nonchalantly in an attempt to seem as if he doesn’t care at all about your dilemma…

…as if he doesn’t care about every second of your everyday…

…as if your overall excitement isn’t the only thing that truly keeps him going nowadays.

“You tell me these things as if what you do outside of this room matters to me.” He hopes his words mask his rising blush. (Spoiler alert: They don’t.)

Flawlessly, you brush off Geto’s phony disinterest without the slightest acknowledgement. It’s as if the phrase had never even left his lips, with no evidence and proof of insult. This isn’t an uncommon occurrence when the topic of what you do when you’re not with him comes up in conversation, as the prisoner typically tries to ignore his interest in your daily shenanigans— and you can’t deny that it hurts. Most of the time, it feels as if Geto never actually listens to anything you say, and you were able to quickly realize that in the early weeks of your arrangement when the pain began to torment your heart; ripping and shredding it to bits with every eye roll and mocking scoff. You don’t seem to matter in Geto’s point of view. He doesn’t care…at least that’s what you believe.

In contrast to Geto, you’re an emotional spirit— you crave love.Love is all you’ve ever wanted, needed, and desired. In your time with him, you’ve developed inklings of feelings as well. However, you’ve chosen to let your feelings grow and blossom out of the dirtied patch of grass they were planted in— ignoring the warnings every single person in your life has given you in advance. Despite that, Geto continues to stomp on your budding flowers. He takes a heavy watering can, filled to the brim with hose water, and drowns your garden in the tears that you shed in the privacy of your bedroom. Those tears that are a never ending waterfall due to the fact that you know it isn’t your job to fall in love with your client. Your duty to Jujutsu Society is to help Geto learn to love humans and sorcerers as one in the same and to gain the trust of his community once more— not to love you.

“Okay, before you judge me, at least give me a chance to explain myself.” Stumbling towards Geto, you accidentally trip over your own feet in embarrassment, and proceed to hold out a single flower not yet in bloom. “It’s freshly cut. I saw a bouquet in the window and it caught my eye, because it reminded me of you; but I knew you’d hate a flashy bunch of them so I just bought the one.”

It reminded you of him?

Taking the gift into his own hands, Geto studies it intensely. The rose is a dark shade of red, crimson, or scarlet depending on your vocabulary. The petals are a brighter color while the plushness near the stem turns dark, more sinister as it approaches the thorns lining the sides. Just by looking at the rose, he can understand why it made you think of him. It’s gorgeous, but practically untouchable figuratively and literally. There’s only one angle that he can hold the stem at that doesn’t prick his fingers. Ouch. And he just did the very thing he was being so careful of avoiding.

All his life, he’s never been the kind of person who longed for gifts or compliments, but when coming from the right person…perhaps he is.

Whilst he struggles to come up with a reply— a simple ‘thank you’ or ‘i appreciate this’— you mentally applaud yourself as you’ve finally found a way to make him speechless…

…but your praise for yourself is short-lived.

He can’t be weak. Not even for you.“I guess it’s not terrible.” Geto throws the flower to the ground and lightly kicks it away with his right foot. As one of the beautiful petals drifts away from the lonely flower, he turns away, not being able to endure the heartbroken look on your face and the offended rose on the floor. Why does he have to be like this? “I’m sure that garbage is all a monkey like you can afford anyways.” Why is he so cruel?

His eyes clench shut as he hears the door begin to close. You’re so gentle even when upset. He admires that about you— you’re the calm to his ever-raging storm, the sailor to his tsunami, and the lifeboat to his wreckage— you’re the most pure-hearted person he knows, and you don’t deserve this awful anger he holds within him.

Is he…crying?

As tears begin to drip down his cheeks, Geto collapses against the wall with his knees buckling beneath him and his weight crumbling down to a pile of patheticness. He’s just a shell of a man undeserving of someone like you. Soft sobs escape his lips and silent cries fill the hollow room, absent of your joy, crying out until he notices the faint outline of the young rose beside him. With the flick of his hand, he snatches the flower off the ground and lifts the thorny plant with careful hands— finally and truly understanding your meaning behind the gift. This is how you see him? He’s dreadful and hurtful to others on the outside, prickling kind people away with his thorns…but when encouraged and supported, he has the potential to become something beautiful.

Someone that could one day be compared to the beauty that is of a blooming rose.

With the budding rose in his grasp, Geto sits alone. He realizes that he’s only able to become that person with the help of you. You’re the only person that has even come close to seeing him for who he truly is; aside from Satoru you’re the only person who would think of giving such a gift to the number one enemy of the Jujutsu world. You’re the only person who he’s ever come to feel true and honest romantic love towards.

Geto has to become better. Not only for himself and Satoru…but now, for you.

⋆⋆⋆⠀ ⠀thank you for reading! reblogs are greatly appreciated! ⋆⋆⋆⠀ ⠀i promise i'll post the next 2 parts soon pls be patient :3

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linkspooky · 5 months ago

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DOOMED SIBLINGS: THE TODOROKIS VS. THE FIRE NATION ROYAL FAMILY

I received an ask in my inbox about how Zuko doesn't owe Azula any forgiveness. Truthfully I wasn't even going to respond because this isn't an avatar blog, but then I watched this video.

Not only do I disagree with the basically everything in this video, but I am going to make the argument that both Zuko' and Azula's arcs are both incomplete with the way the show left the two of them in the final showdown.

In order to make my argument I'm going to compare Azula and Zuko's relationship in avatar to Shoto and Toya's relationship in My Hero Academia and use the latter as a more positive example.

Unnecessary Redemption Arcs

The common fandom opinion I want to argue against is this idea that Azula's ending is a perfect tragedy, and therefore doesn't need to be expanded upon. There's also a sentiment that redeeming Azula would somehow ruin the impact of this perfect tragedy.

I'm about to argue against both of these points.

Azula's arc doesn't work as a tragedy.

Because of this her arc is unsatisfying and unfinished.

I'm going to address the first bullet point but before that let me add another disclaimer. The reason why I think Azula's arc isn't an effectively written tragedy isn't because I like Azula.

Before we even get into the My Hero Academia comparison let me bring up something completely different. I do like Azula, but I like Terra Markov from Teen Titans a lot more and I would not change a thing about her tragic end.

AZULA'S ARC IS NOT A WELL-WRITTEN TRAGEDY

Terra in the comics is what a lot of people accuse Azula of being. She is stated in the text and by her creators to be an unfeeling sociopath. She was also never intended by her creators to be redeemed.

[About Terra] The very first time we see her, she’s trying to blow up the Statue of Liberty. It’s just that all the fans assumed because we went out of our way to make her cute — but not too cute, with the buck teeth and everything — everyone would assume that she was gonna become good by the end and that was never the case. First thing, we made a promise that day that we would never renege on our view that she’d never become good. It’s sometimes hard to do that with characters you like. You want them to become good or something like that. But we never liked the character enough—because we knew what we were doing with her—we never allowed ourselves to fall for the character. Because that’s bad. That’s bad storytelling. You’re doing what you want as a fan at that particular point, not as the creators. T

Now let me clarify, both creators of New Teen Titans say some nasty things about Terra and don't recognize her sexual abuse, but here's the thing. You don't have to read a story 100% the way the author intended, sometimes the story says one thing and the text says something different.

I am going to use Judas Contract as an example of a story where the character from the start was never intended to be redeemed and why that's a positive in this case.

Terra is a teenage girl, the bastard daughter of the king of Markovia and a random American woman who presumably has had no stable home her entire life because she's working as a mercenary at fifteen. She teams up with a man that is in his mid fifties and even starts a sexual relationship with him (this is statutory rape she cannot consent) and Deathstroke uses her to infiltrate the Teen Titans and learn as much as possible.

Terra is sent to live with the team and spy on them for several months. The whole time she only ever engages with them in a fake spunky persona, and never shows her real cutthroat self. She leads Beast Boy on in a fake romance to make him trust her and secure her place on the team. The way you'd usually expect this arc to go is that Terra would grow fond of the team and be torn in her loyalties.

Yeah, that never happens.

Terra loathes the Titans. In fact she's developed a superiority complex about her meta human abilities and she doesn't understand why anyone would use their powers to help others. She despises the concept of superheroes in general, and because of that never bonds with any of the Titans. Her feelings never change from start to finish, because her creators intentionally wrote her as a character that can't be redeemed.

Terra is written to be a psychopath, but even with that intention in mind there are scene that shows a greater range of emotions. She has what could amount to a trauma flashback when Beast Boy too aggressively flirts with her and tries to kiss her and she reacts violently, trying to bury him under the earth.

Let's go ahead and interpret Terra as what is used as the fictional definition of a "sociopath" that is someone who feels no bonds with other people, someone with shallow emotions and someone devoid of guilt. Even if we interpret her that way, her story is still meant to be read as a tragedy.

Terra succeeds in her mission of infiltrating the Titans. Slade captures most of them, and the only remaining member Dick Grayson goes missing. Dick Grayson then unites with Slade's son Jericho, and the two of them team up in order to rescue the rest of their friends.

Even after all she's done the Titans try to make pleas to Terra during the final battle, which she not only rejects but responds to with violence. Which only confirms what I said above, Terra never grew to love them, she never regretted her actions, she only ever engaged with them with lies.

(Terra always lies, Terra always lies, Terra always lies).

Terra is declared by Raven to be devoid of emotions: "Her thinking is unlike ours. She feels no true love or hate. Her soul is corrupt. What she does is done without remorse."

Even after Raven declares this, however she still pleads with Terra to stop because she's going to hurt herself. Terra feels Slade betrayed her because he favored his son Jericho over her, so she decides to take both Slade and the Titans down. As the Titans fight her she begins to mentally fall apart ignoring their appeals to her and lashing out at everything around her. Eventually she makes one last attempt to everything around her, but the Titans escape and she only manages to bury herself.

At no point in the fight do the Titans give up on trying to reach her even as she's loudly screaming how much she hates them. Even after she's buried and it looks like she's dead, Gar and Donna both try desperately to dig her up on the slim hope she's still alive. When they find the body they even give her a funeral afterwards, even though they all think that Terra was beyond redemption.

Even the prose narration that accompanies her death is incredibly melancholy and bemoans her fate, at the same time as it calls her a outright sociopath.

There's no reasoning with her now. However slim, whatever sanity Tara Markov possessed is gone. Now there is only primal hatred! Hatred born, nurtured, and fanned. Hatred that festers and grows without care, without feeling, without plan. her pursed lips part and the sounds which echoes force are garbled and inhuman. Hot, boiling blood gushes wildly from the earth's open wounds, its skin fractures and cracks, and if a world could cry, it surely would. Her name is Tara Markov and she is little more than sxiteen years old, and due to the fault of no one but herself she is insane. No one taught her to hate, yet she hates without cause, without reason. No one taught her to destroy, yet she destroys with glee, with relish. Don't look for reasons which do not exist, plainly Tara Markov is what she is, and she has taken a great power and made it as corrupt as she. Hers was the power over the earth itself she could have brought life to deserts, hat to the frozen tundra, food to sraving millions. She could have damned raging rivers, and tunneled water to packed lands dry and dead. her powers were limited only by the mind which controlled them. A mind which sought not hope, not love, not life, but death.

If you go with the text that she is just a sociopath beyond redemption who hates and hates and hates for no reason, the narrative still mourns her because a sixteen year old with her whole life ahead of being consumed by hatred and then dying because of it is in fact sad.

If you read into the subtext then you can argue that the events of the story, contradicts what the narration is telling us. Terra is being sexually groomed and groomed as a child soldier by a man who is much older than her, even if she thinks he's a partner he clearly has all power in the relationship.

If you think about it that way then Terra is the ultimate bad victim. She doesn't cry and call for help as a victim of sexual abuse, instead she tries to claim power for herself, she manipulates, and she destroys any chance she had for a genuine relationship because she only sees all relationships as transactions she can gain or lose from.

Even if you only go with the first interpretation, the narrative still remains tragic because the Titans themselves did not want to give up on her, they did not want to watch this sixteen-year-old girl destroy herself. They never stop reaching out for her and it doesn't work, because there was no way out for Terra but death.

Here's the thing I don't think Terra's status as a sexual victim automatically means an ending where she dies is offensive. It reflects a reality that victims like Terra often go unseen because they don't present their victimhood in palatable ways, and by the time anyone notices it's far too late. Sometimes tragedies are meant to reflect a reality where many people do not get saved.

There's two reasons that Judas Contract works as a tragic story. Number one the creators planned Terra's ending right from the beginning. Which meant they never gave her any moment where she shows that she's redeemable. There's no genuine bond between her and the titans, no wrestling with the guilt of her actions, nothing.

Number two, Judas Contract is Terra's story from beginning to end. It begins with her betrayal of the Titans, and ends with her death. The death is also brought upon herself by her fatal flaw her hatred, which is what makes her the protagonist of a tragedy. Tragedies are stories where heroes are undone by their flaws. Terra also goes out on her own terms. She buries herself underneath her own rocks. Her death is a direct consequence of her inability to let go of her hatred. Terra's not fridged for anybody else's arc, she retains her agency until the exact moment of her death.

To simplify into bullet points, Judas Contract works because:

The creators thought out what they wanted to do with Terra.

Judas contract is Terra's story.

Now, getting to the part where we actually talk about Avatar, and I start complaining about that awful, awful video.

AZULA'S ARC IS NOT WELL THOUGHT OUT

I just went on a long tangent on how Terra, a character written to have no redeemable qualities can still be tragic. How the creators marked her as clearly doomed from the start, and how she brought about her end on herself, how there no redemption for Terra. How this girl had no real chance, and how regardless of the fact Terra is a lil baby sociopath her fall is still tragic because of how well structured the tragedy is surrounding her.

It's awful to kill off a sixteen year old victim of sexual abuse, but the ending just fits because Terra represents a certain type of bad, unsympathetic victim who doesn't get saved.

Azula's arc isn't as well structured. The ending does not fit. I'm going to start by refuting some points in the awful, awful video I did not like.

"Maybe it's okay if Azula's story ends where it does in the series we would separate how we would treat a real 14-year-old girl from a villain in a series, ad that's why any redemption arc isn't need i a story after all. A character needs of deserves a redemption arc when it becomes the most meaningful way to explore their character and place in the story, but a character deserving redemption usually comes before the story really needing it, and I don't think Azula's done anything to deserve it yet. They've got to exhibit some willingness and action to change..."

So the main reason I'm using Terra as my first example is because Terra is the kind of character that Hello Future Me is describing. Terra was written with the specific intention she'd never experience a change of heart, all of the friendships she makes with the Titans are fake, she very loudly experiences no remorse, or even self-reflection over what she is. Terra's pretty proudly a monster and she never experiences any kind of self-doubt or regret over what she's become.

I can disprove right away Hello Future Me's blanket statement (with no actual cited examples, just trust him guys) that Azula never did anything to hint she may deserve redemption. That suggests Azula is an entirely selfish character who uses, manipulates and thinks she's right and worst of all is comfortable being the way she is, and therefore incapable of doing the self-reflection necessary for change.

Azula does show the capacity to do selfless actions several times in the narrative, and even consider the feelings of others. There's the apology scene with Ty Lee and the way she interacts with her friends in general with the Beach where when she's not fighting in a war or trying to complete a mission for her father Azula 1) interacts with her friends in a normal way and 2) seems to express a desire to experience normal relationships not the hierarchical ones she's experienced all of her life.

However, that's not the example I'm going to use as her save the cat moment. I generally intend to interpret that as a sign that even though she treats Mai and Ty Lee as subordinates and that power she holds over them eventually leads to them leaving her, their friendship isn't just Azula abusing them and lording her authority over their heads 24/7.

No, Azula's save the cat moments all revolve around Zuko. Which is funny, because the entire fandom seems to regard Azula as Zuko's evil little sister who exists to do nothing but torment her.

The first and biggest is Azula deciding to bring Zuko home in Ba Sing Se, and telling a lie to her father that he was the one to slay the avatar.

Ozai: I am proud of you, Prince Zuko. I am proud because you and your sister conquered Ba Sing Se. I am proud because when your loyalty was tested by your treacherous uncle, you did the right thing and captured the traitor. And I am proudest of all of your most legendary accomplishment: you slayed the Avatar.

Zuko: [Shocked.] What did you hear? Ozai: Azula told me everything. She said she was amazed and impressed at your power and ferocity at the moment of truth. [Inspired partly by this post]

Now the show seems to regard this action as Azula being an evil temptress who is there to tempt Zuko back to her side with everything he thinks he ever wanted.

That's only if you regard it from Zuko's perspective.

Think for a moment from Azula's perspective. Number one, Azula is someone thoroughly indoctrinated into Fire Nation propaganda who measures her self-worth based on 1) military achievement and 2) her father's approval and assessment of her talents. In Azula's own logic (wrongheaded as it is) she's helping Zuko. She's bringing him back home with his place in the line of succession restored and his father's approval.

Azula doesn't benefit from this gesture at all, in fact if her father discovers the lie she has as much to lose as Zuko does.

Now Zuko insinuates that Azula only brought Zuko along and told her father that he was the one who killed the avatar so she could let him take the fall if the avatar turned out to be alive.

However, if you look at the actual order of events that doesn't make sense. Azula saw the avatar die, she didn't know about the spirit water, and therefore had no way of knowing Aang could come back. In fact, it's Zuko who 1) knew about the spirit water and 2) decides to keep the spirit water and the fact the avatar might have survived a secret that is throwing Azula under the bus. After all she has as much to lose as he did and instead of sharing that information with her he decides to keep it all to himself.

Now Azula does imply that if the avatar were to turn out to be alive all of Zuko's glory would dry up, but this is only after Zuko 1) throws accusations at her and 2) makes it's pretty clear he's lying to her putting her on the defensive.

This is also a scenario where Azula doesn't have much to gain by bringing Zuko back, if you look at it from her perspective. If Azula just lets Zuko rot in a ba sing se prison, then her claim to the throne is secure. With Zuko back he's restored in the line of succession. She also, when making the decision to invite Zuko to her side probably didn't need him for her plan to succeed.

There is a dramatic moment of Zuko choosing to side with Azula over Katara which turns the tide in Azula's favor, but Azula can't see into the future and therefore wouldn't be able to predict that happening. If you look at it from Azula's perspective she 1) successfully infiltrated the city, 2) already had the Dai Lee in her pocket. She likely already thought she had the city secure at this point so her decision to extend a hand out to Zuko is therefore likely motivated by selflessness instead of self-interest.

That's important because usually when Azula usually only gives her help to others if it also benefits her in some way. Azula might genuinely see her recruiting Mai and Ty Lee to her side as a member of the royal family extending her favor and giving them status and security in their positions but it has the underlying motivation of 1) she keeps them in a position to beneath her and therefore in her complete control.

Azula will interact with Mai and Ty Lee like friends on the surface, as long she maintains control over them, but if they do anything to something that displeases her she'll do anything to regain her control.

Mai: I thought you ran off and joined the circus. You said it was your calling. Ty Lee: Well, Azula called harder.

This is set up in Azula's very first interaction with Ty Lee. Azula greets her like an old friends, Ty Lee even seems happy to see her, but the second Ty Lee tries to say no to her Azula goes to extreme lengths to "persuade her". Azula's friendship with Mai and Ty Lee is an abusive friendship because there is a power differential and even if Azula feels genuine affection for them both it's clear they're not allowed to say no. Mai and Ty Lee are put into positions where it's in their best interest to please her, and live in fear of the consequences if they don't do just that.

Here's the thing, I'm not arguing that Azula didn't deserve any consequences for her actions. I'm arguing that the setup doesn't match her eventual ending. Azula is set up to have Mai and Ty Lee leave her from the very first scene that Azula interacts with Ty Lee. It's satisfying because the set up matches the pay off.

It's also tragic because it's Azula continuing the chain of abuse. The video isn't entirely wrong (which is why they came to the wrong conclusion frustrating).

Azula's fall is about how differenting parenting styles can a child. Ozai's affection is exchanged for being useful. Something Azula would go on to repeat with her friends, whereas Iroh's affection is something freely given with patience for imperfections and failures, something Zuko goes then on to repeat.

It's like... there it is it's so close. Here's the thing, Azula is set up for a tragic falling out with Mai and Ty Lee (and one she deserves) but the set up is different with Zuko. Azula's save the cat moment revolves around Zuko, and her genuine attempt to bring her brother home.

Yes, the first time Azula interacts with Zuko in season 2, she tries to take him home by force. However, by the ending of the season Azula's perspective on the matter has obviously changed because she begins by trying to bring him back as a prisoner, and by the end of the season invites him back as an equal.

There's no moment in Season 3 where Azula treats Zuko the way she does Mai and Ty Lee (unless Zuko provokes it first and puts her on the defensive) in fact most of her interactions are either them interacting normally (such as when Azula goes to find Zuko at their old beach house because she knows he'll be there and advises he leave instead of dwelling on their depressing memories) or Azula deliberately trying to look out for Zuko such as when she advises him not to go visiting with Uncle because it'll make others suspicious.

On the other hand, Zuko never at any point looks out for his sister the way Azula is demonstrated looking out for him. He doesn't say, try to tell her where he's going on the Day of Black Sun, or try to convince her the fire nation is wrong. There's a scene in the later part of Season 3 where Zuko is watching Azula fall to her death while sitting on a flying bison and not only sits there and does nothing about it, but sounds disappointed when she doesn't hit the ground and become an Azula Pancake.

That's pretty much the opposite of a save the cat moment. It's a "let the cat fall to their death" kind of moment.

Yes they were enemies at that point, but Zuko's the one who's supposed to learn that affection is something freely given with patience for imperfections and failures, something Zuko goes then on to repeat.

How exactly is he doing that in this scene?

The thing is... this setup doesn't have to be bad. Of course Zuko has trouble has trouble empathizing with Azula, he doesn't even think about sending a letter to Mai, Zuko's shown at this point to be like a healing abuse victim who's understandably focused on himself.

This in fact could be excellent set up with step 1) learning what genuine love and forgiveness is and 2) demonstrating those two things by applying it to others.

However, that's not where we got. We got Zuko watching his sister have a complete emotional breakdown, crying and screaming while chained to a grate and looking somewhat sad.

And once again to bring Terra into this, Terra is what Stay at Home and parts of fandom argue that Azula is. Terra screams at the top of her lungs how much she hates the Titans, how much she was always lying to them, and the Titans STILL try to reach Terra with words, try to de-escalate the conflict, when she's about to bring the rocks falling down on herself warn her she's going to hurt herself, and then when she's buried under rubble try to dig her out begging for her too still be alive.

Terra who's intentionally created by her writers to be as hatable as possible, is shown more compassion by the heroes in her ending than Zuko ever does to Azula. They also give Terra multiple opportunities to change until literally the very last minute, which Zuko doesn't do either.

What's set up is Azula has this save the cat moment with her brother, that Zuko is pretty much the only person she doesn't treat like a subordinate in the story (because she just like Zuko has a craving for familial love she tries to earn from her father). However, her ending with Zuko just taking her down doesn't fit that setup.

Azula's ending only fits if you consider her arc entirely from Zuko's perspective, which is the underlying issue. Azula's not the protagonist of her own tragedy, she's a plot object that's used to benefit Zuko's arc.

Azula's is written to have a downfall, the same way that Zuko loses everything at the ending of season 1 b/c of his inability to give up on the obsessive search for the avatar (and his father's love with it). Azula is written to be left by Mai and Ty Lee (this is the strongest point of writing when it comes to her since it comes from the beginning).

However, she's not written to be left completely alone and insane with the only empathy being shown is that her brother looks kinda sorta sad. That's only good if you view her as an object to further Zuko's arc, because isn't the ultimate culmination of Zuko beating his sister who has always been ahead of him at life? Azula needs to torn down completely without even some small glimpse of a hope of recovery so Zuko can be built up even moreor at least the writers of avatar seem to think so.

However, even Azula just existing for Zuko's growth and character development doesn't have to necessarily be a bad thing. This is where we get to MHA, which does the tragic siblings and the final Ag Ni Kai about 1000 times better with Shoto and Dabi.

THE GOOD

The comparisons between Shoto and Dabi to Zuko and Azula are made pretty often by the fandom. Shoto has a scar, Dabi has blue flames. Shoto has an arc about healing and learning what it means to be a hero, Dabi's arc is about self-destruction.

Dabi's not the center of his own story, he exists to foil Shoto and help Shoto reach the endpoint of his character development however that's not necessarily a bad thing. These are both two pairs of tragic siblings, the main difference is that MHA doesn't feel the need to tear down one sibling in order to build up the other. In fact, the final step to Shoto's arc is HELPING Dabi, not PUTTING HIM DOWN.

Not only that but the decision to help Dabi is a decision that Shoto makes on his own, and him going against the tide of a society that has already given up on Dabi and would much rather have Shoto shoot Dabi like a mad dog. Which makes the decision to do so even more powerful and emblematic of Shoto's growth.

Now you could say that Shoto and Zuko are too different to compare their arcs, Zuko has a redemption arc, and Shoto has what most people would probably term a healing arc. Shoto starts out the series as a hero.

However, this is what annoys me about the redemption arc debate. A redemption arc is really just a normal character arc. However, calling it redemption drags things like morality and forgiveness into the debate. if you take remove the discussion about moral philosophy both Zuko and Shoto have character arcs where they start the story defined entirely by their home situations and their father's abuse (hence why they have big obvious scars on their face), recover from their trauma, and go on to find an identity outside of their father and form healthy non-abusive connections with others.

In fact I'd see the theme of both arcs are the same, to literally find balance within themselves. Shoto is divided quite literally into right and left sides, fire and ice, and even seems to view himself as half of his father and half of his mother. Zuko is someone who's permanently marked and dishonored by the burn scar on his face. He suffers from an internal imbalance as well. Iroh says that Zuko is the descendant of both Roku and Sozin and therefore both pathways are open to him (but wouldn't that apply to Azula too). Zuko says to his father that the fire nation has destroyed the balance to the world and he's going to leave to assist the avatar in order to fix it.

Shoto's balance isn't just about fixing his internal trauma though, it's also about finding a balance between his family which has defined his entire life up until this point, and his desire to become his own hero not the hero his father groomed him into.

It's why the culmination of his arc is Shoto reaching out to save his family member Toya, because it's the ultimate balance in wanting to heal his family, and also the kind of hero he wants to be, someone who saves and brings peace to others instead of just violently putting down villains. He can bring peace to his family and become his own hero in one action.

However, let's go back to the beginning of Shoto's arc, because saving Toya as an endpoint to his arc is set up pretty early on.

Shoto's arc begins with Deku, a stranger breaking down Shoto's walls as an outsider in order to allow him to look past his own trauma and recall for the first time what he wanted outside of his resentment towards his father. This sets up the idea early on for Shoto that sometimes you need outside interference, help you didn't ask for, especially when you can't see outside of your own problems.

What Deku brings about ultimately is a change of perspective, Shoto's so hurt by the memory of his mother throwing boiling water in his face and everything that came after that he can't recall the memory of her telling him he could be who he wanted to be.

But, you want to be a hero right?

Shoto takes away two things from this arc, sometimes you need help even when you're not asking for it, and sometimes a change in respective is required in order to take the first step forward.

He goes to demonstrate these things multiple times, but here's two exaamples. The first Shoto demonstrates immediately after the tournament arc. When Iida is about to go down a dark path and commit a revenge killing on Stain. When, as a result of that IIDA is paralyzed and about to die in an alleyway, it's Shoto who both notices Midoriya and Iida are missing and shows up in the clutch. He's practicing the same thing that Deku taught him in the last arc: Giving help that's not asked for is what makes a true hero.

He even mentions the second idea, that a small change in perspective can be all it takes to save someone, and he wants to do for Iida hat Deku did for him. His words are the one who convinces Iida to stand back up again when he's paralyzed.

If you wanna stop this, then stand up. Because I've got one thing to say to you. Never forget who you want to become!

However Shoto's arc doesn't end here, because one of the major conflicts in MHA is that heroes don't pick and choose who to save and a true hero will give help even to those people who don't ask for it.

This is a point which further develops when Shoto's abusive father starts to show a change of heart at the end of the Pro Hero Arc. Shoto still holds his father accountable for what he did in the past, but he also acknowledges that if he had the capacity to change then so does Enji. This isn't about whether or not Enji is forgivable, this is an extension of what Shoto learned. Shoto originally believed he was controlled by the circumstances of his birth, that his fate was set in stone, but a change in perspective allows him to realize he can determine who he wants to be. So, Shoto is just applying what he's learned, Enji has the capacity to grow.

There's one final piece of setup that I want to cover before showing how these separate dies all culminate in saving Dabi. Shoto's not only someone who has to find balance between his family and his desire to be a hero.

The theme of balance is written into the quirk itself. Enji basically practiced eugenics to create Shoto as his masterpiece. He noticed a flaw in his own quirk where he could only make his flames so hot without overheating. So he arranged a quirk marriage with Rei who possessed an ice quirk to create a hybrid ice and fire quirk that he could use to cool himself off to prevent him from overheating.

Enji only ever cared about the fire half of Shoto's quirk. His ice quirk only exists for his flames to grow stronger. This is shown when Enji is trying to force Shoto to learn all of his signature moves, because he only cares about Shoto's flame quirk. Shoto was created to carry on his father's legacy, and surpass him with an even more powerful flame quirk. Part of his character development is him learning how to use his quirk in his own way.

This is a theme that continues in the class training arc where Enji is still repeating the behavior of trying to force Shoto to learn his signature moves instead of considering what he wants at all, because still Shoto only exists in Enji's mind to carry on his legacy.

This all culminates in Toya's decision to save his brother. The first is his action in choosing to identify with his brother. If Shoto believes in his own capacity to change, and even his father's, then why would he deny Toya that same chance to change?

The foiling between Shoto and Toya isn't supposed to reduce the two of them to "Shoto is the good one, and he's the bad one", but instead Shoto and Toya were both in a point where they were consumed by hatred and couldn't see any other path in life. Therefore if Shoto was able to change because someone gave him help when he didn't ask for it, then Toya not only has the capacity to change - but in order for Shoto to stick to his stated beliefs that the smallest of things can bring about a change in people he has to be the one to give his brother that chance to change.

It's not about whether Dabi is worthy or not, it's about the themes in Shoto's arc finally being paid off.

Shoto's identifying with Toya, and even parts where he tells Bakugo he'll make Toya sit down and make Toya tell him his favorite food indicate that from the beginning Shoto's intention was to find a way to stop Toya without killing him (which is what several of the adult heroes were encouraging him to do).

@stillness-in-green does a more succinct summary of this plan.

Just me?

Because, like, Shouto had a plan. He spent the time between the two war arcs specifically developing a brand-new combat technique that he planned to use to shut down Dabi's combat advantage without killing him. He convinced his dad not to change the plan like Endeavor was hesitantly sounding him out about[1]; he went out and talked and asked questions, and even if they weren't the right words every single time, he did his best and he did it with intention. If Dabi proves to be dead, it won't be because of anything Shouto did to him; it'll be because Dabi himself chose to stand back up, take a warp gate across the country, pick a fight with the guy who doesn't have the power set to shut him down without unduly hurting him, and trying to replicate an Ultimate Move specifically tailored for someone with a balanced power set Dabi doesn't have. And if Dabi lives, it's still going to be because Shouto booked it across the country and used that same technique to stop him again.

Shoto's decision to save Shoto is also a continuation of his decision to help save Iida from Stain. It's not enough for Shoto to experience a change of heart about his own life, he's got to take what he learned about people's capacity to change, and the importance of connections and then put that into practice and help others the way he was helped.

However, it also further develops the theme of giving help that's not ask for from Iida because Shoto's not saving a mostly heroic kid, he's saving Toya to help break a familial cycle of abuse (because murdering the abuse victim isn't how you end the cycle of abuse... actually).

Shoto's last lines to Dabi are also a refutation of this idea of destiny that he once thought he was ruled by. It's once again, Shoto teaching someone else the lesson he learned. Toya says a warped rail can never mingle with a straight and narrow one! In other words Shoto can never understand or get along with Dabi, because Dabi will forever be defined as the failure because of the circumstances of his brith, whereas Shoto will always be the success.

His final action is a decision to break the cycle they were born into: no, we're gonna mingle whether you like it or not.

Shoto's ultimate move Phosphor is not only a move he designed far in advance to take down Dabi non-lethally, it also is a rejection of his father's teaching method. Toya says he only ever taught me how to turn up the heat. Enji only valued both Shoto and Toya for their flame quirks. Developing his own quirk and breaking away from what his father wanted, specifically in order to save his brother. It's Shoto rejecting what his father created both of them for (a successor to his quirk) and finding his own path. By using that move to take down Dabi he's not only teaching Dabi their flame exists for more than just destruction, he's also by letting Dabi live giving Dabi a chance.

From a conversation with @class1akids

Dabi was the last push to unlock Shoto’s full power. Until then he was on the track of mastering flashfire like Endeavor planned for him (except for his own reasons) but realising the fighting Dabi with fire was gonna kill them both and also he’s simply no match fire only helped Shoto to fully take control of what his quirk is Like his quirk development goes parallel with how he faces each member of his family and finally meeting Toya is like the last piece of his puzzle to find his own full power and identity.

It's not just Shoto decides to save his brother because he's just that nice, his arc is literally incomplete without it. The act of creating phosphor a move specifically to save Dabi is both him unlocking the full power of his quirk (by balancing the fire and ice sides of his quirk) but also achieving balance between trying not to leave his family behind while at the same time becoming his own person and hero outside of his family circumstances.

Citing my conversation with class1akids again:

Toya is endangering everyone at Gunga. Endeavor has no means to stop him and when he tries to murder suicide Rei interrupts and his “hero way out” is taken. All he can do is watch helplessly as his family is about to burn to death with a bunch of strangers he tried to protect. But it would do Shoto dirty to use his heart technique to kill his family and the strangers so he comes in a clutch and I see that confrontation as the power trauma vs the power of healing in the family. With Shoto who is a true hero, they can put the fire out and save the family and strangertoo. Shoto become a balanced hero and bring relief and reassurance, Endeavor was completely helpless, and Toyas inner child got the attention he wanted, plus depending on how you read it, he may have become less suicidal.

Shoto also, and I want to point this out desires to stop his brother not to take him down but because he doesn't want him to hurt any more people. He's again finding a balance between two ideas 1) Shoto needs to stop his brother in order to stop him from creating more victims and 2) Shoto needs to find a way to stop him that's not just putting him down because Toya himself is a victim.

Shoto also, and I must point this out for the comparison between Zuko and Azula goes out of his way to engage Dabi in conversation, ask him why he didn't come home and what happened to him in the years after he died. This is especially poignant because unlike Zuko and Azula who grew up together, Shoto basically had no relationship with his brother (and the rest of his siblings really) before Toya died because Enji purposefully kept Shoto separate from all the "failures."

So yes, the act of saving Toya is more for the completion of Shoto's arc than any redemption arc for Toya but Toya's not just a plot object to move around for Shoto's arc, Toya has his own agency all throughout. In fact it's the fact that Toya resists being saved every step of the way that provides the challenge that Shoto needs to grow in order to be able to save him.

Toya's not just after revenge against his father that's the surface reason, Toya is also just blatantly suicidal. Toya's birth is marked as a failure, his death wasn't even acknowledged by his family and everything stayed the same in his absence, so he created Dabi while praying at his own shrine in order to mourn Toya. Dabi can't find any meaning in his life where he was born as a failure, so he'll use his death taking revenge against Endeavor for having been born in order to give his life meaning.

What makes Avatar look especially bad in its treatment of Azula in comparison to how MHA treats Dabi, is that Dabi is way, way less redeemable than Azula. For one Azula has clearly proven affection both her friends and her brother (and I don't think she even deserves Mai and Ty Lee's forgiveness they had every right to walk out on her and want nothing to do with her again.)

Dabi is probably the ugliest victim of the League of Villains. The rest of the league have far more moments in their bonds with each other. Toya is the outsider to the league even if there are some subtle hints to his affection (he tries to show up to save Twice, and also burns down Toga's family house to comfort her). The villains are mostly shown to be redeemable by their positive friendship with each other, and Dabi at several points denies the league's bond (he pulls a Terra and yells out loud at the top of his lungs none of the league matter to him). Unlike with Terra you can argue this is most likely Dabi trying to cover up his real feelings. However, the fact that he feels the need to hide his affection from the league shows he's purposefully distancing himself from any bonds whatsoever.

Unlike Azula who has gone out of her way to help her brother in one major way, and also shows hints in early season 3 of having that sibling bond with him Dabi just straight up wants to murk Toya. Azula also tries to murk Zuko, but that's only when Zuko leaves on the day of Black Sun (one without telling her, and two something that probably left her alone to deal with the consequences of lying to her father for his sake). Either way, Azula's behavior in early season 3 is setup for the fact that their sibling bond can be salvaged.

Dabi is way worse to Shoto in comparison. Dabi in the first part never saw Shoto as his own person, just a puppet of his father (puppets have no autonomy or personhood). His feelings towards Shoto only went so far as Shoto was someone who could kill in order to upset Enji. Dabi also doesn't particularly care for the rest of his family as well (only calling out Natsu's name when his brain is literally melting), they're either ways to hurt endeavor, or he wants to drag them in hell with him. Heck his last words after being saved is telling everyone to die and go to hell.

Dabi doesn't bother to make bonds with the league or have any lingering affection for his family because Dabi's determined to seslf destruct. He's given up on life the moment he saw that he died and nothing changed in that household, now all that's left is for him to create a meaningful death by dragging his family to hell with him.

Dabi is also even as a child made out to be an unpleasant victim. He attacks baby Shoto with his flames early on out of jealousy (even though he later admits that he was being unfair to Shoto). He makes the situation in the house worse by loudly screaming and demanding his father's attention. He screams at his mother and throws her complicity in Enji's abuse in her face.

This is in comparison to Shoto who in childhood flashbacks we are only ever seen either 1) crying, and 2) trying to comfort and protect his mother. Toya's even made out to be difficult to empathize with as a child - which like flew over half of the fandom's heads because he got accusations of somehow abusing his father and the rest of his family in that chapter at 10 years old. However, that in a way illustrates my point.

The fact that Dabi is so disliked by a certain portion of the fandom is because Horikoshi paints such an ugly portrait of Toya in the way he expresses his victimhood. It's done deliberately too, because number one Toya by resisting Shoto's attempts to save him and trying to self destruct instead retains agency as a character. He makes decisions even though they're bad self destructive ones, he's not just a prop. Number two, the fact that Toya is intentionally portrayed as such an ugly victim makes Shoto's decision to break the cycle of familial abuse by saving Toya and not leaving a single family member all the more poignant.

Toya is an uglier victim than Azula, actively trying to kill himself in a way that Azula isn't, and treats Shoto way worse than Azula ever treated Zuko and yet Azula isn't shown the sympathy or given the salvation that Toya is.

Because once again, the writers didn't think about the ending of Azula's arc or of Azula as her own character. Shoto defeating Toya is the culmination of his desire to break the cycle of abuse in his family. Zuko putting Azula down is just to make Zuko look better. It's in service of Zuko's character instead of both of their characters.

THE BAD

Avatar isn't setting up some gritty ending where the bad guys can't be stopped, they can only be killed. In fact it's pretty close in tone to MHA.

Season 3 especially is the season that really begins to hammer in on the themes that even the people on the enemy side are still human after all. The headband shows that Fire Nation children are indoctrinated into the war, but they are in the end still children. There's the story between Avatar Roku and Sozin, and once again Iroh saying that Zuko has both options becoming like Roku or becoming like Sozin available to him (but not Azula I guess). There's Zuko joining Team Avatar, even after he betrayed Katara in Ba Sing Se and should have burnt that bridge then and there. There's Zuko working to earn their trust again when no one on the team really owe it to him.

The main character of the show is a pacifist, who deliberately learns a way to stop Ozai without killing him before the final battle because he doesn't want to break the values taught to him by his culture.

If the entire theme of season 3 is redemption, healing and that the fire nation are not inherently evil then why does Zuko's sister and character foil end the last shot of the series screaming and crying with no one comforting or even attempting to sympathize with her. Why is this one character marked for tragedy in a show that is about redemption and healing and showing compassion to your enemies and very specifically not a tragedy.

Toya literally burns all of the flesh off of his body, and somehow he has a gentler ending than Azula, because at least Toya's arc ends with all the members of his family showing up to try to cool down his flames, and when he's on the ground burnt to a crisp his father finally apologizes to him. Toya is a skinless burnt chicken wing, my boy has no skin, and somehow he's better off than Azula.

I don't think the writers gave Azula such a cruel ending because they don't like her, but rather because they just didn't think about her ending outside of what it meant for Zuko. Which is why you get moments like Aang who is apparently a pacifist who doesn't want to kill the Firelord, watching his daughter fall to her death while sitting on a flying bison and doing absolutely nothing to save her. ALL LIFE IS PRECIOUS (except for Azula I guess).

It's not bad because a victim doesn't get saved, it's bad because it doesn't fit in with the rest of the story.

Not only is Zuko saving Azula a very natural conclusion to his arc, but there's far more setup for Zuko reaching out to his sister and saving her than there ever was for Toya and Shoto. Both Toya and Terra are screaming at the top of their lungs "I HATE EVERYONE, YOU SHOULD ALL JUST GO TO HELL." They're both making decisions and committing to their self destruction while Azula is a 14 year old girl having a mental breakdown.

Anyway, time to quote the bad bad video again.

"When does a villain deserve a redemption arc? When do we deserve a redemption arc? I know this is gonna hurt, but characters are not people. They are tools. They are represetations of people. They can be used to say other things. They can be symbolic representation of other ideas. Azula's story is not just about a fourteen year old defeated by her brother for the throne, Azula is Zuko's character foil, where she is ruthless and practical, Zuko is empathetic and emotional. Where Azula's a prodigy, Zuko has to work hard to earn eve a fraction of her power.

I specifically chose to cite MHA, because of how differently it decided to use Shoto and Toya's character foiling. Shoto recognizes himself in Toya, and how different their paths were in life. This is explicitly motivates him to save Toya. It's also the culmination of everything that Shoto has learned because Shoto is a hero who believes that actions speak louder than words. It's not enough for Shoto to resolve his own inner struggle, he also has to help Dabi with his because that's showing Shoto has grown rather than telling us.

I think that is where the major difference lies between Shoto and Zuko, we're told that Zuko has chosen the path of empathy and healing, that he's learned to give people love and patience like Iroh has but instead of showing that the culmination of his arc is having a fist fight with his sister in a denny's parkinglot.

Azula is Zuko's character foil, where she is ruthless and practical, Zuko is empathetic and emotional. Where Azula's a prodigy, Zuko has to work hard to earn eve a fraction of her power.

If Zuko is empathic and emotional and that is why he's gained friends while Azula is now alone after having lost her friends due to the way she treated them, then like... what a great opportunity for Zuko to SHOW that quality of empathy.

However, Zuko doesn't do anything that Shoto does in the final fight. He's not even here for Azula, Azula's just an obstacle for taking back the crown. He doesn't talk to Azula, engage her in any way, try to de-escalate and avoid the fight.

If you want to make the tragedy that Azula and Zuko have taken such different paths in life that that Zuko fighting with his sister is unavoidable you could um... at least show Zuko being sad over the prospect of fighting his sister or being reluctant in any way.

(Before you come in here with "Zuko doesn't owe Azula anything take" this isn't about whether or not Azula is a terrible sister to Zuko, this is about the story that avatar is attempting to tell. Shoto and Dabi's fight is tragic because Shoto doesn't want to fight Dabi, he wants Dabi to come home and for their family to be complete. Zuko never expresses anything like that so where does the tragedy come from?)

If it were 100% committed to a tragedy like Terra's death then I wouldn't mind. if it were 100% committed to a story of redemption like Shoto reaching out to Toya then I wouldn't mind. My issue arises from the fact they want to have their cake and eat it too.

They want to give this tragic end to Azula, and use it to illustrate how Zuko has grown as a character. However, you can't have both.

If Zuko's growth is about learning that his father's love based on achievement and 2) learning he needed to get lost in life in order to find himself then why doesn't any of Zuko's actions demonstrate this lesson Zuko has learned about love, and about how you can be your own person outside what your father expects from you.

If Zuko has grown as a character he should be able to show those actions. He does show his new understanding of love and friendship to Team Avatar, but as I said that's easy mode. That's Shoto's attempts to save Iida, it's a step in the right direction. It's also not really Zuko demonstrating a selfless love, because he's also at the same time trying to earn their trust and earn his way into the group.

It's also not Zuko breaking the cycle of abuse in their family in any way. Shoto is trying to break free from his role of his father's masterpiece, and at the same time helping Dabi break free from his view that he's the failure.

It's also such a natural ending for Zuko's arc, to take the lessons he learned from Iroh and give them to his sister who needs them so they can both break away from their father's parenting. As I said Zuko does solve the internal conflict within himself, but he doesn't really demonstrate that by helping someone else find their balance.

If you wanted the tragic end, then it would have to be about Zuko's failure to reach out to his sister, because he hasn't learned how to reach out to her. Or because he tries and is unable to. The writers don't seem to understand that though, they think the tragedy is about Azula bringing it all on herself, and not the inherent tragedy of a fourteen year old girl being unable to be saved.

The set up is right there too, because number one avatar is about balance. So, wouldn't the true ending be finding balance between the siblings, not having Zuko rise and Azula fall. Number two, Azula being alone and friendless because of her own actions is again a parallel to where Zuko was in early season 2 at his lowest point. Except Zuko can be the better person in this situation by reaching out to her.

Zuko doesn't break the golden child / scapegoat dynamic, he just flips it so now he's the success and Azula is the failure.

While Azula's fall comes from cruelty and rejection from friends and allies it is Zuko's humility and kindness and friendship that ultimately wins the day. Him sacrifcing herself for Katara and her bringing Azula down and then her healing him. Azula ending up imprisoned isn't something happening to a real person, it's a deliberative narrative choice by the author to say something about how people like this isolate themselves and end up alone. "

As I've stated above, I'm not saying Azula didn't deserve to take a fall. Her fall is actually set up from the first moment she met Ty lee. However, there's no set up for her fall being permanent.

Azula's given way more humanizing moments than characters like Terra or even Dabi. Which is why Azula being in an insane asylum for the rest of her life doesn't fit as an ending at all.

Azula is one link in the chain of abuse. Her father only gives out affection in regards to her usefulness. No matter what Azula is an asset first and a daughter second. Azula then repeats the cycle and treats her friends the same way. She has been shown through an improper model of parenting of using fear to dominate others with power and control and she replicates that in her other relationships.

Therefore, Ty lee and Mai leaving her is not only deserved, it's the perfect opportunity to pull the rug underneath Azula and to show her that her understanding of how relationships work is completely wrong.

This also mirrors Zuko's arc, because part of Zuko's arc is realizing just how wrong Ozai is for making both children earn his love, and that he doesn't need to measure his self-worth based upon his father's approval. He also learns about healthy expressions of trust and friendship from the gang.

Azula loses in part due to her own inability to form healthy relationships is losing people rapid fire, her brother leaves and joins the enemy side, Mai and Ty Lee betray her in favor of her brother, then her father in one action of leaving Azula behind and throws the title of Firelord to her after it's become completely meaningless reminds her of her place. Azula learns in about five episodes what Zuko had in 3.5 seasons to process that her father's love was always conditional and no matter what she did she would never truly "earn it."

People leaving Azula isn't exactly the problem, the problem is that Azula ends up alone permanently without being given the same chance that Zuko is. Terra, and Toya both get opportunities to turn back. They both refuse the hand that's reaching out to him. Mai and Ty Lee leaving is caused by Azula's own choices, but her ultimate end isn't. She's not even given the chance to turn away being saved like Terra and Toya do because Zuko doesn't even bother to try saving her. Her ending is not entirely brought about by her own choices, because the writers need her to take a fall to uplift Zuko.

Azula ending up imprisoned isn't something happening to a real person, it's a deliberative narrative choice by the author to say something about how people like this isolate themselves and end up alone.

I think once again it comes from the author's misunderstanding things because they don't want to look at the story from Azula's perspective, only Zuko's.

Stay at Home almost had it when he said the tragedy of Zuko and Azula was there to show how two different parenting styles affected these children.

The tragedy is that Zuko and Azula started in the same place, but Zuko had persistent guidance and someone who modeled for him a healthy kind of love. The difference is that Azula has never experienced any kind of healthy love or support on the level Zuko has, so she models all her relationships on the way her father treats her. It's not that Azula is offered some chance for change and rejects it, it's that Azula isn't even aware of the fact that there's another way because no one is there to show it to her.

Which is why I said once again, Zuko being the first one to show Azula the lessons he himself was shown by Iroh is such a natural place for his character to end.

Azula also even while completely alone and with no idea what healthy love is, knows that there is something wrong with her and is troubled by that fact in a way Dabi and Terra aren't.

Azula: I can sit here and complain about how our mom liked Zuko more than me. But I don't really care. My own mother... thoguht I was a monster... She was right of course, but it still hurt.

Then there's the famous mirror scene:

Ursa: I didn't want to miss my own daughter's coronation. Azula:Don't pretend to act proud. I know what you really think of me. You think I'm a monster. Ursa: think you're confused. All your life you used fear to control people, like your friends Mai and Ty Lee. Azula: Well what choice do I have?! Trust is for fools. Fear is the only reliable way. Even you fear me. Ursa: No. I love you, Azula. I do.

Both of these scenes indicate that Azula thinks of herself as a monster and is deeply uncomfortable with the idea. Considering Ursa is a voice in Azula's head and not a ghost, it also shows on some level Azula knew what she did to Mai and Ty Lee was wrong and feels conflicted over it.

Once again she's much more in conflict with herself than Toya and Terror ever are, and who's someone who's constantly warring with himself? Who's someone who could help resolve her inner conflict... Zuko (too bad the way the show's written he never does).

Azula doesn't choose to self-destruct the way that Terra and Toya did. Azula's ending isn't brought about by her choice not to change, because she's never given the chance to change in the first place. Her tragic ending would make sense if it was entirely of her own choices, but Azula doesn't retain her agency in the end it's literally taken away from her. She loses control of her mind, and her ending is being chained to a grate screaming and then thrown into an asylum.

I'm not arguing against Azula's ending because she's my favorite character and I don't want bad things to happen to her. It's because her tragedy isn't about her it's about Zuko, and her ending actively takes agency away from her where at least Toya and Terra both retain their agency up until the end. It's not good writing because the tragedy doesn't fit in with the rest of the story which is about balance and healing - and it's also ableist as hell.

THE UGLY

Azula's ending is unfitting to the tone of the story she's in, makes her and Zuko's arcs feel incomplete, and also is ableist as hell.

Here's yet more evidence that Azula's tragic ending is poorly thought out. Azula's mental breakdown doesn't exist in service of her character, but Zuko's.

Azula's issues pop up out of nowhere after episode 15, and take place over the last 6 episode of the series. The idea of Azula having a mental breakdown isn't necessarily a bad concept, but it's executed poorly.

The first way it's executed poorly is just how rushed it is. There's basically no hints of any mental instability beforehand. Of course people can have mental breakdowns spontaenously like that in real life, but this is a story and stories require foreshadowing. Azula spontaneously developing mental issues doesn't feel like it's planned as a part of an arc. First off, because the writers don't seem too sure about what Azula's symptoms even are. Hallucination, paranoia, manic laughter, but apparently she's still able to bend lightning just fine. Secondly, the writer's intentions for giving Azula a mental breakdown are pretty transparent.

The writer's room needed to come up with a believable reason why Zuko would suddenly be able to fight on equal terms with Azula, so boom sudden mental illness. The intent was not to create a sympathetic portrayal of a young girl struggling with both paranoia and delusions. The intent was to nerf Azula because they couldn't think of any other way this plot could end, other than Zuko and Azula fighting in a denny's parkinglot.

As I said they use mental illness as a plot device to take Azula's agency and choices away from her. It's not done with the intention of humanizing her, and in fact except for one small scene with her talking to her mother in the mirror it's a pretty negative and unsympathetic portrayal of mental illness. Not because the writers hate mentally ill people, but because they needed Azula to have a mental breakdown in order for a plot point to happen. Which is why they didn't think of the potential implciations of such a writing choice at all.

Now, people are going to argue about me so I'll use one final example. Azula's ending may be controversial but it's universally agreed upon that the Game of Thrones Ending was bad, right?

Game of Thrones uses mental illness as the exact same plot device, to explain why Daenerys Targaryen turns from a hero to villain in the last few episodes with absolutely no foreshadowing. In fact, the all of the show director's interviews about that choice are just blatantly ableist.

Rant from @hamliet

This quote is (likely unintentionally) gaslighting, ableist, terrible logically, and downright offensive.

First, ableism: why, why, why are we conflating madness with evil? She was driven to madness so she killed a bunch of people and had to be put down? And you think this is a great message in the year of our Lord 2019? [...] Additionally, while good writing is to an extent subjective, there are general consensuses on what make good writing--and Game of Thrones hit all the general consensuses for bad writing, from bad pacing to confusing character assassination. Critics are like, pretty united on this front. No one thought Dany’s turn made sense, even the ones who expect Mad Queen in the books. Maybe if people love a character who is meant to be evil you're not writing them correctly... or maybe they aren't meant to be evil.

Daenerys and Azula are incredibly similiar characters. They're both dragon themed, alligned with the element of fire, they're both colonizers they both represent the warrior princess archetype.

I'd say Daenerys is more of a tragic heroine though, because while Danerys is essentially doing the same thing as Azula, waging war in a foreign land and a culture that's not hers, for the purpose of then bringing back soldiers to her home continent so she can wage war again - while she is definitely a war mongerer she has good intentions. Daenerys for all of her faults, genuinely wants to break the chains and help out people.

I think Azula definitely sees herself as the hero for winning the war for the fire nation's sake, but she's completely uncritical of her own culture and she doesn't really have the good intentions that Dany has. She does it more out of a sense of duty, and her belief of divine right, not because she wants to break people free.

Daenerys's problem is that she doesn't understand the culture she's invading and the complicated world she lives in and despite all good intentions, is as I described above, invading a foreign power so she can go back and wage a war to reclaim the throne. Even if Daenerys would then proceed to go on to be the bestest queen ever that wouldn't change the fact her methods to get to the throne were incredibly violent, and she's sort of failing to break free from the cycle that led the Targeryen rule to fail in the first place.

Azula's problem is she sees herself as the hero and is therefore uncritical of fire nation values. She doesn't have any nobler intentions either other than service to her country, she just like Zuko is just trying to fulfill her duties as daughter and believe her birthright puts her above others. (I mean Dany does too but digressing).

Azula's more of a tragic villain who plays the antagonist role in the story, Danerys is one of the three heroes. However, she's more of a tragic villain in the sense that she's first season zuko pre character development just way more competent.

However, while Daenerys is a much more heroic character than Azula, here's the thing. I still think she's going to die. She is foreshadowed pretty heavily to die, and fail for her quest for the throne, because her entire story is a deconstruction of the warrior princess and the liberator archetype.

However, the story that GRRM is building throughout his books with Dany as an incredibly flawed heroine is different from what we got in the show, which was Daenerys going crazy and starting to murder people. That's because Daenerys turn to darkness wasn't about her character at all, it was just making her into a plot device to move their bad idea for a plot forward. That's why the turn is so unnatural and makes little sense with her character, that's why it's so rushed.

That's also why it's ableist, because it's using mental illness as a plot device to make a character unsympathetic and monstrous and give the other characters a reason to put them down.

The same for Azula, outside of one scene where he's talking to her mother, Azula's mental illness manifests in her screaming, maniacally laughing, looking like the joker did her makeup, and her instability also makes her violent and dangerous to be around. (Ignoring the fact that most people who experience delusions in real life are harmless, and more likely to be the victims of violence).

Her sudden mental illness isn't even used to make her more sympathetic in say Zuko's eyes and make him realize she's a victim, no it's just there to nerf her so she can be violently put down. The way she's drawn, the way she acts, it's to paint her as monstrous as possible. Her last action is like sobbing and screaming while being drawn as ugly as possible. She's not even given a small hope for recovery, because it just ends there. That's a pretty great message to send people that experience delusions, not only will you not recover or be shown sympathy, you'll also get sent to a mental asylum for the rest of your life. The choice for both Azula and Dany is not to portray any kind of mental illness in a respectful way, but to make a plot point happen.

As I said I expect Dany to die in the books, but there's a difference between dying as a tragic hero succumbing to your flaws but still having your good intentions acknowledged and just turning into a villain for no reason and being put down like a rabid dog.

(This is a quote I stole from a Shigaraki post but): "Why does she need to be put down in the first place, she has trauma, not rabies."

The problem isn't bad thing happened to my favorite character, the problem with the ending is it doesn't take Dany's setup into consideration.

Stealing from @hamliet again:

The thing about tragedies is that you have to manage expectations and clearly show that your tragic hero is doomed from the very early on–ie you have to show them making steadily worse and worse decisions (see: Eren Jaeger in SnK), if not directly tell your audience at the very beginning that this is a tragic story (ie see Greek choruses and Shakespeare, the prequels from Star Wars because everyone knows Anakin is Vader–plus I’d argue Anakin’s arc only works because we know he comes back to the light in the end. Audiences don’t like reversing on set up/undoing structure. To make Dany a tragic villain is to go against the structure of her arc in both show and book. That’s why people don’t like it, even if the books makes it seem more believable.

Kate then goes onto describe a character that's much more comparable to Azula's. Honestly Arianne is closer to Azula than Daenerys is.

You know who is set up as a tragic heroine destined to descend and die because of her flaws in the books, whose arc has almost certainly been combined with Dany’s in some sense in the show? Arianne Martell. (and another character known as f!Aegon) In the books, Arianne is incredibly ambitious, and especially resents her brother and his quest for power. Like Margaery (another tragic character), Arianne seeks power and is intelligent and manipulative in her quest for it. But Margaery’s fatal mistake is that in seeking power and prestige, she’s become more a pawn than anything else for a villain (Cersei). She chose to play with lions, and she’ll be torn apart; that’s not surprising. Arianne, as her chapters hint, is going to almost certainly marry f!Aegon, playing with fire, and die burning for it. Arianne’s grasping for her own power is never portrayed as cruel or stupid like the main human villain (Cersei); on the contrary, we empathize with a girl who truly cares about her people, but resents her father’s preferential treatment towards her brother. That’s the difference between Arianne and Cersei: Arianne cares. She is not cruel. But her pride is still going to get her killed.

There's a lot of game of throne females you could compare Azula to because GOT is full of queens, but like. Azula may be a tragic villain firmly on the side of the antagonists but she's not Cerseie. She's not queen, she doesn't wield the power that Cersei wields. In fact one of Azula's downfalls is finding out she doesn't have as much power as she thought she had, and ultimately was just a tool of her fathers.

She's not Rhaenyra or Alicent, because yes she may be grabbing for power but her character isn't affected by misogyny. Because once again, the writers simply didn't think about misogyny except for a really surface level "girls can be just as strong as boys" way so we really have no idea how women are seen in the fire nation. The show doesn't really explore if being a woman makes things harder, or makes people treat her differently than Zuko because the writers just didn't consider Azula's perspcetive on that matter.

Azula is alike to Danaerys in several ways, but as I said I think her ultimate end comes from Azula understimating her own importance in her father's eyes, and quickly realizing when her father is her only family left she never had his love or loyalty in the first place.

But Margaery’s fatal mistake is that in seeking power and prestige, she’s become more a pawn than anything else for a villain (Cersei). She chose to play with lions, and she’ll be torn apart; that’s not surprising.

Azula's most famous quote is about how Long Feng isn't even a player, only to find out her father considered her a pawn from the beginning and be broken by the revelation.

The difference being of course that Avatar is not Game of Thrones and it won't even kill the evil fascist dictator so it doesn't make a lot of sense to hand Azula the ending that Arianne got. They have the same fatal flaw.

Anyway, I made this big post but I can explain why Azula's tragic ending down't work in one sentence.

AVATAR THE LAST AIRBENDER IS NOT A TRAGEDY.

Maybe the reason Azula should get redeemed is because THE SHOW IS ABOUT F&%CKING REDEMPTION.

#bnha meta #mha meta #atla meta #azula meta #azula #princess azula #dabi #toya todoroki #shoto todoroki #azula redemption

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starshipsofstarlord · 1 year ago

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I've waited a thousand hours to tell you exactly how I feel, but you don't deserve an explanation

Warnings - cheating, angst, break up (0.8k)

damon salvatore works other tvd works masterlist

Damon had once enjoyed tormenting human beings, all because he could. There was a violent anger within his cursed soul, he wanted others to suffer just as he had. It hadn't been his choice to be turned into a vampire, however that was now the reality of his life, and so he had chose to embrace the tragedy that had arose his body from initial death instead of holding resent towards it.

But once again he was emoting regret; he had hurt her. Y/N was everything that he had searched for in his 173 years of existence, she made him feel as though he was alive again. Damon was vastly aware that he wasn't the better brother, it was in his blood to be gullible when it came to making mistakes. And that was what he had done once again.

There was nobody that Y/N knew who was as self destructive as Damon, he was unable to accept a good thing without ruining it first. So here Y/N was, in ruins as she sat at the bar, nursing a strong drink as though it would numb the wound that Damon had made in her. She had spent decades loyal by his side, but she was foolish to have ever thought that he would be content with somebody that wasn't a Katherine knock off.

Sometimes the woman liked to convince herself that Katherine had sired him just to make herself feel better. But despite her dark hopes, it wasn't true and she was only temporarily blinding herself to the surrounding reality.

Damon's heart ached as he viewed his girl from afar, he wanted to run to her and hold her broken demeanour in his arms. He wanted forgiveness, what he and Elena had was nothing than a drunken night spent alone together. It would never happen again, he couldn't bear to see his Y/N in such a state. There was a glass of bourbon in his hand, but after his intoxicated rendezvous, he refused to drink.

He had fucked up, and there was no redeeming himself. His actions and wandering hands had been unjustified, in fact criminal as it had costed him the companionship that he craved. Y/N stood, leaving bills on the bar as she turned to leave, however her tracks of retreat were faulted to a stop as she saw him in her peripheral.

Y/N wished she could hurt Damon in the same way he had her, but it would be impossible. He had been unable to control his libido in the shared presence of another woman, and it evidently meant that he had never cared about her. She was just there on his arm for appearances, to show that he had moved on from his messy past. Others had been convinced of that up until now, and so had she, though they had all come to realise that it had all been a cruel hoax.

"Baby." He pleaded with the pet name that often times would make her melt, but she remained hard and stoic despite his conniving words. Y/N wondered if he had called Elena that in their time together, but it was best decided if she didn't know.

"I miss you." Damon proclaimed as though it would make things any better. All it did was blur Y/N's eyes with infinite tears and her break all over again. Her lips trembled as she stood in front of her unreliable lover, she could only see him as a stranger rather than the man that she had shared a bed with for a lifetime. Life only lasted so long, and it was understandable if their vampiric relationship did also, it was a shame it had to end the way it had though.

"I've waited a thousand hours to tell you exactly how I feel, but you don't deserve an explanation. We're over Damon, for good, I refuse to hold you back any longer. Be with Katherine, or Elena, or whoever the hell you want, as long as it's not me." Her shoulder collided with Damon's as she shoved past him, refusing to hear his apologies or regrets. He had lost her for once and for all, and there was undeniably nothing that he could do to make up for his careless reckoning.

Damon only wanted Y/N, but she no longer desired him. He had internally harmed her, and it was damage that would live within her for eternity. She had wasted far too long on the man that she had called hers, and through it she had somehow survived the anguish that she'd endured because of him. If he wanted forgiveness he would have to do more than grovel in self hatred, he would have to be responsible for saving her from the turmoil heart ache that had made her feel more human than the era in which she had been one.

#damon salvatore x reader #damon salvatore imagine #Damon Salvatore angst #damon salvatore x y/n #damon salvatore oneshot #damon salvatore fanfiction #tvd angst #tvd x reader #tvd imagine #tvd x you

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demaparbat-hp · 9 months ago

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Even if zuko has a plan to end the war, making katara work amongst people who likely hold racism towards her and aided and supported the genocide of her people is still weird, especially since zuko benefits from the fire nations oppression of people throughout s1 when hunting the Avatar. Not good choices to make in a zutara au :/

Believe me, I've made these arguments against myself over and over again.

I know I'm putting Katara in an extremely difficult and unjust position in this AU with—from an outsider's point of view—little to no reason other than "I just wanted to see her in Fire Nation armor and kicking ass" and no consideration for the context. I'm not trying to somehow forgive nor redeem the Fire Nation's actions in war just because...well...just because. Not at all. People who've read Soundless (or any other of my wips, really) know that's not the case. On the contrary—I always do my best to see the war through a realistic, mature lense. And that includes everything that makes the Fire Nation so terrible in the first place.

That being said, there are some things I considered when deciding to make Katara side with them (even if her true motives lie elsewhere) in this AU. And they are not excuses. Just, different layers of context.

First of all, she was desperate. By this point in her life, her mother was dead, her father had left to fight the war, her brother followed behind a few years after, and she was left filling the empty spaces when, by all means, she wasn't ready for the responsibility. She had been feeling helpless and hopeless for years, and ached to do anything to help her people beyond doing chores and taking care for the children.

Let it be known that Aang's apparent betrayal comes from a place of trauma and misplaced anger on Katara's part. Much like how she put the Fire Nation's sins on Zuko's shoulders in S3. She is not on the right here, but this is her natural way to process and understand grief. There are many different aspects of her development as a child involved in how she views the Avatar—and, by extension, Aang—but more on this later.

Katara was young, and reckless, and she had just been "betrayed" by the first person who ever looked at her and saw more than the perfect caretaker she was forced to be. She was not in the right state of mind to make a decision like that and, to be honest, she couldn't have predicted the consequences. She saw a clear path to contribute to the end of the war, and by La she would take it.

On Zuko's end, you might argue that he should have known better than to let her join him and, well, you would be right. But there were many things about Katara's trauma response and state of mind that—unless he had known her for a long time—he couldn't have known. He will definitely blame himself later on, when the racism and cruelty towards Katara begins, and especially when word reaches her family at sea.

It's Katara's job to smack some sense into him from time to time and tell him that, yes, he should have tried harder to stop her (and she would probably be better off because of it) but what's done is done. And, by all means, the decision was hers to make. If anything, it's their fault, not his alone.

Now, Katara doesn't suffer the entire AU. That would just be cruel.

Zuko's crew was handpicked by Uncle Iroh, so you can expect dissidents, traitors and a few White Lotus agents who were smart enough to keep their true opinions quiet. There are...mixed opinions in that bunch, of course, but that's expected and, to be honest, rather easily dealt with. They are mostly honourable people just doing their best to end the war from the inside.

The real problem comes when they cross paths with, say, Zhao's fleet (or Hakoda's, let's be real).

And you may ask why Zuko is hunting down Aang, then, if he's secretly a goody-two-shoes himself... I'll explain that later in depth, so stay tuned.

In short, I know the decisions I've made, as a creator, are debatable at best, and downright blasfemous at worst. But they're deliberate.

I want the readers to feel conflicted about Katara's choices in this AU. I want people to have mixed opinions about the war, the (apparent lack of) morality, the characters, you name it!

I'm not trying to glorify a victim of war joining the side of the ones responsible for her people's genocide, even if it's just for show and she's actually set on destroying their government from within. Not at all.

Katara made a stupid, horrible decision, and she's going to suffer the consequences. But she's also going to fight to reach her goals, because she's stubborn like that.

I know most people may have a little trouble understanding where I'm coming from, because they don't have all the information necessary to make a full opinion.

I'm really thankful for these kind of asks. They let me explore these concepts and AUs in depth, and see what you think about them. I'm only human—my opinions are not infalible, nor The Right Ones, and this is a kind of discussion that I love to have.

So, keep the asks coming!!!

#dema answers #atla #zutara #zuko #avatar the last airbender #katara #hunters au #Katara joins Zuko AU #zutara au #zutara fic #Sorry for making this so long. But I loved writing it and thinking about it from a different pov #So thank you again for not shying away from making these kind of questions #It's always good to see things from a critical perspective #Please share your opinions about these themes! It's doesn't matter how different or seemingly nonsensical they may be.#Every single one is important #And the more asks the more I get to share and think about this AU #So it's a win win situation

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imfluffytrash · 1 month ago

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In my opinion, the fandom demands too much from Tattoo compared to the rest of the characters.

He didn't want to help Jack or the debtors in the first place, his priorities were his mother, his best friend and himself, which is fair. Of course, it wasn't right for him to try to involve an innocent person in this mess, but I think it's important to highlight he was not acting out of malice but out of desperation. He didn't know Joke prior to their "ring heist", not on a personal level, and currently he doesn't know much about him either while Joke knows all about his life situation.

Tattoo stole something he shouldn't have from the rich in order to escape the nightmare he's been living in because of them (the threats, the beating, the never-ending pressure), he put Joke in the spotlight but he couldn't avoid getting caught. Now, the same people that have been disturbing him nonstop want his help returning the necklace he stole to get rid of them, they convince him through another beating that includes Hoy and, potentially, his mother. Who wouldn't want to escape? Why feel like he owes them something? By making these types of decisions he may end up in greater danger than at the start, but he is not able to think of another solution and does not want to suffer anymore. Joke understands this, that's why he forgives him over and over again, he is familiar with the feeling of being trapped no matter what you do.

I get Hoy's point of view, I also value qualities such as honesty and loyalty, and I'm not trying to defend everything Tattoo has ever done and will do, but I think there's little discussion about his motivations although the series focuses on disadvantaged environments and the consequences of living in poverty.

I rarely see characters like Aran or Hope being held accountable even though their actions / intentions / motivations are immoral or, at least, questionable. People seem to like them because they are handsome and violent and confident, but they have not yet shown redeemable qualities.

#I'm sick and I'm not sure any of this makes sense #I wanted to talk about Tattoo since the second episode when I realized that there were already AranTattoo shippers #from what I have seen in episode 5 I doubt it will happen but I would have preferred TattooHoy #poor guy x rich guy isn't that bad but this isn't just any rich guy #whatever I have too many thoughts regarding the secondary characters #jack & joker u steal my heart #jack & joker #jack & joker the series

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strqyr · 7 months ago

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gods, but this:

OSCAR: um, if you're not sure where to start, i do have a suggestion. if you'd like? JAUNE: sure. OSCAR: think about the good times. what little they might have been that you spent in the ever after. JAUNE: just focus on the positive? OSCAR: no, not like that. it might be able to help you remember what it was all for, and rewrite the story in your own way.

it says so much about oz's view on the fairy tales, especially the ones ozpin chose to include in his collection of them (fairy tales of remnant). it's also kind of similar to lewis; the story he wrote is a story as he wished it had happened.

how much of it focuses on the good times, no matter how few and far between those were? how much of it is to remember what it all has been for (ozma came back for salem, not to redeem humanity in front of the gods; that, he said 'no' to)?

how much of it is him rewriting the story in a way he wished it had happened? in a way that makes it easier to deal with the reality, the situation he has found himself in, not knowing exactly what he had signed up for?

it brings to mind his notes from 'the infinite man', which—at least to me—have a slightly different meaning behind them now than they did before:

This rendition—in which the man indeed is everything he claims to be—is the most romantic and, I think, balanced version of the story, which I have cobbled together from a variety of differing accounts in an effort to paint a larger and clearer picture, one that is slightly more sympathetic to the man. He is alternately portrayed as a hero or a fool—and again I say, why can't it be both? Less commonly, he is represented as the villain. In response, I offer another interpretation for your consideration: Good intentions do not always have good results. We are all fallible. We all make mistakes. And forgiveness of those failures goes hand in hand with trust. Although I have embellished this story slightly—attributing motives to the man's actions based on my own assumptions and, admittedly, my own prejudices and belief that there is good in all of us—no one who wasn't there could know what really happened. And even then, they would only have a small part of the story. Therefore, I leave it to you to decide whether this man is worthy of forgiveness. Truth itself is not an absolute, and everyone is free to make their own choices.

#rwby #rwby beyond #rwby spoilers #oscar pine #ozma #ozpin #he's just trying to deal with it all okay #and also--i think--trying to forgive himself while also acknowledging his own mistakes #trying to tell himself that even if his good intentions did not have good results #does not make him a “villain”#that there is good in everyone--including *him*

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aelondrias · 24 days ago

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Without You - Casey Lee Edwards [with lyrics] from Sonic x Shadow Generations

Can you hear me?

Do you still hear my voice?

Echoes back at me, “Why did you make that choice?”

You surround me, and your memory is clouded by all things dark

I can’t feel you there

You’ll never leave me, I swear

It’s just a nightmare that won’t end

So I pretend

That I’ll see you again

And that I’ll save you from all the things I’ve failed to

Now I’m without you

I can’t forgive the wrongs I’ve done you

‘Cause now you’re gone forever

I remember

How bright you shined your own

Yet I remain alone.

I found this on youtube and figured I would share it here.

I believe that the lyrics are strongly from Shadow’s point of view. He’s calling out for her. Maria. Wondering why she would make that choice; from the time where Maria saved him from the GUNS as she activated the escape pod, sacrificing her life for his. I think that haunted Shadow vividly in his memories. That’s why the figment of her soul surrounds him like a looming cloud. Yet she shined through the darkness of her own.

It’s a never ending grief and guilt, torn between himself and her, a passing yet constant nightmare that haunts him to this day. None can compare, beyond irreparable. His life revolves around her, centered and stark.

I think there was one point where Shadow sometimes pretends or places himself in the delusional loophole of being reunited or seeing Maria again. How he can redeem himself and align the world around to save her from the things that he failed, as he believed it to be his purpose from the start and what all he ever wanted. He blames himself or sadly, loathes himself for it.

But all that laments, he thinks of her, her lively presence that shines so bright that it felt as though he’s been christened, cured by her light. But that feeling does not last and in the end, he is all left alone.

Hang on there is something in my eye. It’s probably just a dust. 🤣💀

#shadow the hedgehog #sonic x shadow generations #maria robotnik #dark beginnings #sega

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raleighrador · 2 months ago

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Most fics I have read - even/especially the very good ones - that include Anakin having a relationship with Obi-Wan after Mustafar (or AUs where something similar to Mustafar occurred) are almost always frustrating to me. At least unsatisfying.

Anakin having any kind of positive relationship with Obi-Wan post Mustafar always seems to rely on a level of introspection and self awareness that frankly my head canon of Anakin is totally incapable of.

Anakin is not a forgiving person, even at his best. He is kind and generous but not forgiving. He remembers every slight (real or imagined). He holds onto those memories and lets them fester.

He also remembers all the good. He never forgets them. He cherishes them and polishes them and places them on a pedestal.

It's why (and a symptom of) he's so fucked in the head when it comes to his most important relationships.

He has no synthesised view of Obi-Wan or Padme or Palpatine or Luke. They are all of the things they have ever done to or been to Anakin.

What changes is the weighting Anakin gives to each of these things, with a massive recency bias.

I don't see how Anakin, in the full knowledge that Obi-Wan is the man who cut off his limbs, set him on fire, left him to burn, left him for Sidious to find, and then stole and separated his children before Padme's body was cold...

Could ever forgive him.

The why's and the intentions and who deserved what just wouldn't matter to (my head canon) of Anakin.

In lieu of self-awareness many fics give Anakin basically limitless self loathing. So instead of dealing with Obi-Wan or Padme or whatever he just hates himself so much that he doesn't have time to hate Obi-Wan anymore.

There is a lot I like about this (narratively/as entertainment) but I think the thing it misses is that is how Anakin worked prior to Mustafar anyway. He already hated himself almost limitlessly and he still found the time and energy to hate Obi-Wan.

After Mustafar he would have so much more justification for that hatred and resentment. So why would his self loathing get in the way?

The longer the timeline of these stories aligns to canon the more true this becomes.

I think by the time you get to Ghost Anakin at the end of ROTJ the things he would regret most are (in no particular order): choking Padme, handing Luke to the Emperor, torturing Leia, chopping off Luke's hand. MAYBE he regrets Alderaan but only in as much as it made Leia sad and means she hates him.

And he would likely blame everyone and anyone but especially Obi-Wan for this.

If Leia's surname was Skywalker, if they weren't separated, if Luke wasn't lied to about who Vader/Anakin was, if the Jedi hadn't filled Luke's head with lies and trained him as a weapon etc.

The rest of it? I just don't know that Anakin would really regret that much of it. I don't think he would see much difference - even with hindsight - between what he did as Vader in service of the Empire and what he did as Anakin in service of the Republic.

Killing the Jedi younglings probably sits in its own category. However, I maintain that Anakin would believe this was an acceptable price to save Padem IF it worked.

That might be his biggest regret - that none of it worked, that he lost Padme and his children anyway.

But any time travel force shenanigans where Vader uses the dark side to yeet himself into the past such that he can save Padme etc.

He would think that was a good deal.

There is the final (meta) element to all of this which is that Anakin's eventual forgiveness of Obi-Wan seems to generally function more as a narrative tool to assuage Obi-Wan's guilt, rather than some kind of real character development for Anakin.

And TBH I just want Obi-Wan to suffer/don't cate about him but that is another post.

I do however have sympathy for this - because I think Anakin is really, really hard to write.

A "redeemed" Anakin in my mind isn't one who suddenly becomes some kind of virtuous rules based utilitarian like the Jedi aspire to be, like Obi-Wan is.

A redeemed Anakin is one who chose his son, chose his family. A redeemed Anakin is one who was finally put in a position where choosing his family WAS the greater good. Anakin chose to save Luke - and kill Sidious - for the exact same reason and applying the exact same logic he applied to every other major choice he ever made.

And I don't see that Anakin as ever getting over what Obi-Wan did to him and his family. At best I see him not killing Obi-Wan because it would make Luke sad.

#star wars #anakin skywalker #obi wan kenobi #fan fic writing #fan fic

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featherstorm2004 · 11 months ago

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All For One and the power of context

I tend to drift alongside the BNHA fandom as a somewhat casual enjoyer so I haven't really made much posts about the series even if I do like it. Mostly because the things I want to say have already been stated by someone else so, I never felt a need but with these latest chapters I wanted to mention what I believe is Horikoshi"s biggest strength "context".

What I mean by that is his ability to turn seemingly boring or one note characters into some of the most fascinating by showing how these characters upbringings and living situations made them who they are today. And I believe we can all agree this is shown most strongly with the villains, are most recent example being All For One who has made the transformation from a pure evil one note villain to a complex human being within just a few chapters, even if All For One himself would refuse to admit to such humanity.

This can also be seen with other examples such as Mr Compress, Dabi and Toga with the later being the most demonised by the fandom until recent chapters. But for now I wish to focus on All For One as I find his situation to be the most fascinating because unlike the other villains who desperately want to be seen as human and accepted by the world around them, All For One seems almost afraid to admit his humanity and the cruelty of his circumstances.

Ever since All For One was introduced we have been lead to believe by the narrative and All For One himself that he is simply pure evil, that there is no complex reasoning behind what he dose or why he dose it he was simply "born arrogant". But I don't believe that and I don't think Horikoshi wants you to believe that either, it has been displayed to us multiple times in the series that there is no such thing as people who are born evil. I would argue that nature vs nurture is one of the key themes of BNHA.

One key example of this is Endeavour and Dabi, where in the early arcs of the series we are led to believe Endeavour to be this pure evil abusive monster who tormented his family and whilst he was most certainly an abusive prick, Endeavour can't be simplified so quickly with his atonement arc being a clear sign of that. And then there's Dabi who was hated for not caring about his family or friends because of the way he tried to deflect and hide any emotions that weren't pure anger or disgust, then his complete backstory that wasn't from Endeavour's point of view we see almost immediately after the fire he rushes back home to apologies to his family.

The reason I bring these things up is because it displays seamlessly how the lack of context to Dabi and Endeavour's stories led to them to be demonised and simplified into pure evil characters when that is far from the truth.

And I believe a similar phenomenon has begun to scour with All For One, as with the most recent chapters, where we have been allowed to peel back to mask the demon lord just a little bit to see the real man behind the mask of evil. Now dose this mean I am implying that All For One is simply misunderstood or that he can be redeemed? God no but that's not the point, that''s never been the point.

We aren't meant to like All For One or think that he deserves forgiveness but we are supposed to understand him, to deconstruct the layers of the number one villain and understand how he has gotten to this point. To understand that he was a child born in what was essentially an apocalypse with no parents, no name and no one willing to help him because of his quirk, where him and his brother where hunted by hate groups and the government for simply being born different, where he had to not only find a way for himself to survive but also his sickly twin who couldn't help him much due to his illness.

It is this very important context that allows us to understand how a man like All For One came to be. But we must also understand two very important things and that 1) All For One is a liar and 2) he is very childish. At first I thought it was strange how juvenile he acted during these recent arcs and even stranger when he started de-ageing but now I understand why, because the truth of the situation is that All For One never truly grew up from his days as a young child reading comic books with his brother.

In many ways all of this conflict, pain and destruction is merely an extension of that, he is quite literally a child playing at being the big bad in his favourite story. It also explains why he doesn't understand why his brother wants to stay away from him because it's just a game why are you getting worked up over me breaking a few toys? This also would explain all his tantrums first with All Might and now Hawks because they're ruining his game and his story.

Now that's not to say that I think All For One doesn't understand all the pain he's caused or that what he's doing is wrong. But like early Shigaraki he's distance himself to it, it's a similar phenomenon where people in a video game are more willing to do more messed up stuff like murder or bulling a character because they are distanced from it to a point they feel comfortable acting that way just to see what happens.

That's also why I believe All For One clings to his demon persona so much, because if he is truly a demon if he was simply born evil with no ability to feel love or empathy then that also means that he doesn't have to take accountability for his actions because that was simply how he is.

But it's not just about accountability.

I also think the demon persona is a form of self defence for All For One, a way for him to take back control from a world that denied it to him. Like most victims of trauma he is trying to create a way for him to have agency in a situation he originally had no control in, this can be seen in many children who place themselves in the positions of the hero's in the stories they are exposed to, so they too can feel that sense of power and control in they're own lives.

So, that's simply what All For One did only instead of mimicking the hero he decided to mimic the villain. And I think his reasons for doing so are fascinating, at first he relays to the audience and All Might that it's simply a power thing or his desire to rule the world but it's not that simple.

The real reason is surprisingly more human, All For One wants to be loved, to be relied on and trusted. Essentially, All For One desires a family, a community to call his own after being denied one his entire life and this explains a lot about his earlier actions, hell in one of the first vision's Deku receives about All For One he refers to his minions as his "dear friends" and when he is fighting with All Might one of his biggest grievance is how All Might forced his "dear friends" to go under ground.

He even refers to Aoyama as his nephew and gets him and his family to call him uncle, this man is obsessed with the idea of family. Which in turn explains his absolute rage and hatred to all the barriers of One For All as in his eyes they stole the only family he's had since birth, the only person who loved him unconditionally, until he went too far. It's probably the reason All For One chose to fixate on Tenko so much despite having an army of children who could be his successors as not only did he get his revenge by stealing a family member of one of All For One's holders but he also gets to have a child who appears close enough to him and his brother that he could pretend he is actually family.

However, I don't think All For One can admit this to himself, that he is in fact a human being. A human that desires to be loved and love in return because if he dose admit that to himself then he would shatter and he'd have to face all the emotions and consequences that he's been running from for over a century. It would essentially be an ego death for him as everything he's convinced himself he is and what he was taught to be by the world who fears him would suddenly be a lie and he can't handle that.

So, he lies to himself and to the world desperately trying to convince everyone that he is in fact the demon lord, and not a child who desperately clings to fiction. It's tragic in a way as ultimately I believe Yoichi was correct, if given the right care and upbringing All for one could have been the kindest ability in the world, but alas they were not so lucky.

As, for where his story is going I honestly have no idea, he may be killed, he may De-age into nothingness. But I think it's important to remember this context whenever we discus the story of BNHA with all it's flaws it is ultimately about broken people desperately finding a place in the world.

But that's just my opinion.

#boku no hero academia #bnha 407 #bnha #bnha spoilers #mha #my hero academia #all for one #afo #shigaraki yoichi #bnha meta #character analysis #bnha chapter 408

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craftingcreatures · 1 month ago

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So this post said it way more eloquently and comprehensively than I ever could, but I've been mulling it over for a while and I wanna talk about it anyway.

I've been watching the Owl House lately and honestly I'm kinda in love with the way the show handles redemption. I see so many people in the fandom complaining about how the multiple villain redemption arcs are unearned, or that they get forgiven too easily, but like... isn't that the whole point? Redemption isn't earned, it's given. And I love the characters in the Owl House because they are brilliant examples of this principle.

Take Lilith, for example - she cursed her sister out of petty jealousy and in doing so subjected her to a life of ostracization, broken relationships, and suffering. Multiple people got seriously hurt because of Lilith's choice, most notably her own father. And instead of owning up to her mistakes she kept her involvement secret for decades, pledging loyalty to an oppressive dictator and climbing the ranks of the dictator's private army/police force in pursuit of her own ambition. Instead of confronting her own mistakes, she tried to cover them up. She attempted to absolve herself of guilt by quietly removing the consequences of her own choices (convincing Belos to remove the curse) without compromising her own goals. And she continued to hurt people in pursuit of this goal (leading multiple coven scouts to their deaths at the hands of an eldritch nightmare demon bird worm, using Luz as a human shield while attempting to subdue Eda). So when she eventually does confront her own guilt and turns a 180 on her character, a lot of people can't quite comprehend just how quickly Eda and Luz accept her, as if forgiveness was a foregone conclusion. In fact I don't think the word "forgive" was even mentioned.

Pretty much the same thing could be said for Amity, or Hunter, or the Collector. (There are a lot of redeemed villains in this show and I absolutely love it; redemptions are definitely my favourite trope in media.) The moment a villain confronts their villainy and chooses to change their behaviour, the protagonists welcome them with open arms. Often the protagonists begin reaching out to them even before they start to show signs of remorse, like with Luz and Amity in Lost in Language, or Luz and Hunter in Hunting Palismen and Hollow Mind, or Amity and Hunter in Eclipse Lake, or Amity and Luz in Reaching Out. As I said before, forgiveness is a foregone conclusion; the only thing preventing it is the villain's genuine decision to stop being a villain (which is neatly illustrated by the season 3 finale; Luz tells the Collector that he "did good" when he tries to extend forgiveness to an unrepentant Belos, and when Belos later feigns innocence Luz and the others see right through him. Belos' repentance wasn't genuine, and so couldn't be met with forgiveness).

A kind of inversion of this principle can be seen in Luz' character arc in season 2b and season 3. Luz blames herself for Belos' meeting the Collector, leading to Belos learning the draining spell and later the Collector's awesome and uncontrolled power being unleashed on the Boiling Isles while Luz and her friends are trapped in the human realm. From Luz' point of view, she is directly responsible for the rise of a despot and the probable deaths of almost everyone she loves. And she hates herself for it. In Thanks to Them she has an outburst where she basically wishes she'd never been born. One of the most heartbreaking moments in the entire show, for me, was when Luz asked her mother "why aren't you mad at me?". She clearly expects the people around her to reject her, to hate her, to treat her with the performative expectations that she explicitly doesn't expect from the antagonists in the show, even the ones who have acted far worse than she has (see Lilith, above), and she can't understand why they don't. Luz thinks she doesn't deserve forgiveness, when she has freely offered forgiveness to everyone she's ever met regardless of whether they deserved it. And once again The Owl House displays the theme of redemption by all the people around her working to reach out to her, to give her a redemption that Luz doesn't think she's earned. Once again, redemption is given, not worked for.

Look, I make no secret of the fact that I'm a Christian on this blog. And I understand that the overlap between "people who are Christians" and "people who watch The Owl House" is probably very small. But I just can't help but see something so profoundly beautiful in this show, so profoundly Christian, because this repeated motif of freely offered redemption to anyone who wants it is a perfect illustration of one of Christianity's core tenets. Redemption is not earned - it is given. The offer of total forgiveness and reconciliation is already extended, even to the worst offenders, even before the offender acknowledges their offense. There's nothing I can do to earn it; no self-flagellation needed to prove that I'm in earnest, no great deed I have to do to convince God that I'm worthy of forgiveness. The forgiveness is already there, waiting.

Kinda makes you think, doesn't it? The Owl House is a show about witchcraft, with very prominent and positively depicted LGBT+ relationships, and with a primary antagonist who is heavily implied to be a conservative Christian. It would be hard to have a piece of media that more explicitly rejects the normal cultural values of North American conservative Christianity. And yet this show displays a better understanding and celebration of Christian redemptive ethics than a significant proportion of actual Christians. I'm sure a lot of people would clutch their pearls and call it anti-Christian propaganda, but at its heart the Owl House is built on the fundamental Christian value of radical love.

I dunno. I just really like the Owl House.

#christianity #chrumblr #toh #the owl house #lilith clawthorne #luz noceda #long post

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phoebepheebsphibs · 9 months ago

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Overanalyzing Mikey's fear

This post will be a bit vague, since most of Mikey's fears are connected to an unrevealed piece of lore... but I'll try to explain it as best I can

Living on the streets, Mikey obviously had to turn to unscrupulous means to survive. You may notice that when I refer to Leo, I call him a "petty thief". But I don't refer to Mikey as such, I call him a "con artist". Why the difference? Because Mikey has morals in him. Misguided and backwards, but they are there. Leo's driving moral is survival, so he has no problem taking whatever he wants. Mikey's conscience won't allow him to do that, so rather than steal outright, he tricks people to give him their belongings. His argument? "If they're dumb enough to fall for it, then I earned it and they deserve to lose it!" So, to reiterate, Mikey has morals but they are strained due to his life on the streets.

Mikey wants to be a good person, if only for his family's sake. He wants to set a good example of what a family should be, and what better example than himself? Like the song says, "If you want to make the world a better place, take a look at yourself and then make that change!" So, Mikey desperately attempts to be as perfect as he can. But, perfection is difficult to attain, and it brings a heavy weight on one's shoulders. Even so, Mikey has been carrying that weight since his early childhood...

Leo and Mikey have always been together, ever since Leo found his little brother in the alley. But their experiences in families has been vastly different (as we'll see in the next fear fungus update). Mikey was always the golden child, Leo the troublemaker. Mikey found that being the good kid was more favourable in order to get a family, so that was a big motivator to be perfect as well. It was never enough, though...

NOW ONTO THE LORE. In the comic, Mikey mentions "the teapot", and Donnie refers to it as "the emotionally traumatizing lore drop". I don't want to divulge too much, but I will say that Mikey stole something he never should have, felt badly about it, and when he tried to make amends, things went terribly wrong. Immediately afterwards, he was kidnapped by Draxum. But specifically, let's focus on Mikey's attempt to redeem his mistake. It failed catastrophically, which he did not expect. He truly believed that his coming clean about his misdeed would make it better, but instead it made it worse. The person he wronged? They blew up at him. They were enraged, furious! And he didn't expect that, because he was starting to think of this person as family. And Mikey had always believed that when a person apologizes, you forgive them! But his forgiveness was withheld, and Mikey was crushed by this fact. And so, he ran away... and unknowingly ran straight into the clutches of his creator...

OKAY NOW HERE'S THE BIG ONE. Sadly... I can't tell you the reasoning behind this. But let's look into the psychological aspect of it, shall we? Both Mikey and Donnie view Draxum as a monster, the most evil person they have ever known. Why? Because they both went through the same traumatic experience with him together! I think it is very interesting that while Donnie was afraid he would never live up to his father's standards, Mikey was terrified that he had surpassed them. The most evil, cruel, monstrous person Mikey had ever known told HIM that HE was "wretched, awful, evil, he told me I was a BAD PERSON". Whatever it was that Mikey did... he feels that it is unredeemable, unforgivable, even worse than the "teapot incident".

But to bring this back to a wholesome note -- because if we don't then Dr. Feelings will have my head -- Donnie helped Mikey understand that what he did was not unredeemable. He is not unforgivable. And from Donnie's perspective, Mikey is his hero, simply because he rescued him from a bad situation. More than once... but that's a story for another lore drop!

@boots-with-the-fur-club @daboyau

#fear of being a bad person #rottmnt #rottmnt until i found you #until i found you #until i found you au #rottmnt separated au #separated au #rottmnt mikey #overanalyzing #lets get into it #rottmnt michelangelo #michelangelo #writing angst #writing fears #writing whump #rise of the teenage mutant ninja turtles fanfic #rottmnt fanfic #writing therapy

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andreal831 · 3 months ago

Note

If you don’t mind, can you make a post ranking all of the mothers in TVDU (e.g. Esther, Lily, Hayley, Caroline, Liz, etc)?

Ranking of TVDU Mothers, Worst to Best:

16. Dahlia

While Dahlia is not Freya's biological mother, she raised her. She was the only maternal figure Freya had over a thousand years. It goes without saying why Dahlia is dead last. While she is an excellent villain with a complex backstory, it doesn't change the fact that she was awful to Freya. So much so that Freya tried to take her own life, causing her to lose her baby. Dahlia had no love for Freya, only seeing her as a tool for power. She was ready to discard Freya as soon as a more powerful, easier to manipulate option came along. Dahlia never viewed herself as Freya's mother, which explains why she put no effort into being a good one.

15. Kelly Donovan

It's honestly surprising how good of a guy Matt is considering he had Kelly as his only role model. Kelly abandoned her kids when they are both in high school to chase after a man, forcing Matt to work nearly full time to afford to live and take care of Vicki who had a known drug problem. She only ever showed back up when she needed something and wound up causing havoc in her children's lives. While we can feel sympathy for Kelly losing her daughter the way she did, Kelly then continues to abandon her son, forcing Matt to deal with the loss on his own. Matt throughout the series is seen struggling much more than his friends due to his financial insecurity and his very warranted emotional attachment issues. Every other male character is given slack for having mommy-issues, but Kelly really did a number on Matt and he is given no sympathy by anyone. Not even the other parents on the show who could have stepped up and helped.

We also can't forget her SAing her son's best friend, Tyler.

14. Greta Sienna

We don't know much of how Greta was before Klaus killed her husband, but Greta allowed her hate and need of vengeance to consume her, shifting her focus away from her children, Roman and Antoinette. While she did care for them, risking Klaus' wrath to protect them, she then largely abandons them to lead her cult. Greta attempts to influence her children with her ideals, however, when Antoinette does not follow her beliefs, their relationship seemed to suffer. Roman also spent 50 years desiccating before Greta saves him. When they are reunited she uses him to get close to Hope, putting him in danger of angering the Mikaelsons. She then drags Antoinette into the conflict by manipulating both her daughter and Elijah with lies. Greta repeatedly put her own anger and hatred over her children, and it almost cost them their lives.

13. Lily Salvatore

We are told that Lily cares for her sons, and we even get glimpse of it throughout the show. But like Greta, Lily largely abandons them for her cult. She gets some credit for attempting to take her sons and run, but then quickly loses them for letting her son take the blame for the missing money and be beaten by his father. Lily then fakes her own death, forcing her sons to mourn her, all the while leaving them behind to face the abuse she was aware of from their father. While she is a ripper and potentially worried about harming her children, the fact that she didn't hunt down Giuseppe and kill him puts her pretty low in the ranking. Damon and Stefan would have been better off being orphaned at that point. But we see her getting control of herself enough to form her new family, never once going back for her children.

Even when she is released from the prison world, she prioritizes her new family over her sons. While I have sympathy for Lily for what she likely went through with her husband, it doesn't redeem her as a mother. Stefan does attempt to repair their relationship, but it is in a large part due to his forgiveness and less of an effort on her part. She is a better mother to her heretics, but even then, prioritizes Julian over their needs until the very end. She gets a couple of points for sacrificing herself to protect her heretics, who she viewed as her children more than her own sons, however, it does little to help her rank as a mother.

12. Isobel Flemming

Isobel does get some credit for knowing she wasn't ready to have a child since she was only a teenager, hoping Elena would have a better life with the Gilberts. But her caring more about her ancestor, Katherine Pierce, than her own daughter puts her pretty far down on the list. It seems that a lot of her actions against Elena are either from being compelled by Klaus or just fearing him, however, nearly all of her actions throughout the show seem to be putting her own daughter in harms way.

While Isobel clearly never wanted children and does not appear to be very maternal, she at least had the compassion for Elena to tell John to get Elena away from the Salvatores. While, as an audience, we may love the supernatural relationships, as a mother, Isobel did not want Elena to be invovled in the dangerous, supernatural world.

11. Katherine Pierce

Katherine was forced to give away her daughter and that clearly stuck with her. We see glimpses of the mother Katherine could have been had her life been different, but that unfortunately wasn't the mother Nadia had. Katherine did attempt to search for her missing daughter when Nadia was still a child, which is more than a lot of these mothers do, however, when given a second chance with Nadia, Katherine struggles to bond her.

Like everyone, Katherine has some valid reasons for her actions, but it doesn't fix how she treated her daughter. Much of their relationship seems to be Katherine using Nadia, prioritizing Stefan over her own daughter. She gets some credit for being by Nadia's side at the very end, however, it's a little too late.

10. Esther

This is a complex one because on one hand, Esther tried to murder her children multiple times. But on the other, she truly did lover her children in the classic toxic, Mikaelson way.

Esther only has her children thanks to her sister, Dahlia, and a bargain they made forcing her to give up her first born child. Esther is clearly devastated by this deal when she realizes just what it cost her, effecting her relationship with each of her children later.

Like Lily, Esther should have done more for her children to protect them in an abusive household. However, unlike Lily, Esther never leaves them. She does attempt to shield them from Mikael's abuse, often putting him to sleep or lying to Mikael to protect her children from her mistakes. Even after Klaus murders her, she still shows him forgiveness. Yes, she is attempting to kill him at that point, but I can't fully blame her.

At least the next time when Esther comes back, she attempts to give them another option rather than just death. While her actions are questionable, she does it out of love, which is more than a lot of the mothers on this list can say. At the end she sacrifices her life for her children. Similar to Katherine, it is too late, but it is clear she has a complex relationship with all of her children. They all show a fondness for her at points, signifying that there is mutual love there. Her sacrifice at the end at least allowed her children to attempt to remember her fondly.

9. Abby Bennett

At least when Abby abandoned her daughter, she left her in good hands. It is clear Abby loved Bonnie, but for whatever reason decided she couldn't raise her. However, watching her prioritize her adoptive son over Bonnie was devastating. Bonnie didn't deserve that.

She gets some credit for showing up a few times when she was needed, however, the fact that she didn't even know Bonnie died shows just how out of touch she is with her own daughter. Abby's motivations are unclear as to why she couldn't be more present in Bonnie's life. They hint at it a few times, but the fact that Abby didn't even bother to show up for Bonnie when Grams died or when she lost her father speaks volumes.

8. Liz Forbes

Liz and Caroline have a complicated relationship. Liz ends up raising Caroline on her own after husband abandons them. However, Liz's focus on her career tends to put a strain on their relationship. It only gets worse when Liz finds out Caroline is a vampire. Liz takes a lot of time, but eventually comes around to it and accepts Caroline, even saying she is proud of her. Liz standing up for Caroline against Bill was such a great moment for them.

Liz has the benefit of living longer than a lot of the mothers which allows her and Caroline to repair their relationship and even develop a close bond.

But she loses massive points for ignoring the twenty-something year old man hanging around her daughter and then later befriending him. Yes, she didn't know what Damon did to Caroline, but still. I need her to be a little more invovled in Caroline's life and recognize what she was going through. She is a cop after all.

7. Carol Lockwood

Carol is yet another example in the series of a mother allowing their child to face abuse at the hands of their father. Like the other examples, we can't dismiss how difficult it can be for a woman and her child to escape abusive men, especially when they are well connected like Mayor Lockwood was. Carol seemed to be a better mother after the death of her husband. Although her elitism likely contributed to much of Tyler's bad behavior in the early seasons.

Carol gets massive points for never turning on her son even when she finds out he is a werewolf. While Carol doesn't appear to be an overly affectionate mother, she did everything in her power to protect her son with no hesitation. She was definitely in over her head trying to protect the town from the supernatural, it was still clear that her son was her priority. Her last words were trying to protect Tyler.

6. Pearl

The worst thing Pearl did to her daughter was befriending Katherine Pierce which led to them being separated for a century, leaving Anna alone. We don't know much about their long lives, but it is clear Anna and Pearl had a close bond and clearly loved each other very much.

5. Jenna Sommers

Again, Jenna is not biologically a mother, but she does become Jeremy and Elena's legal guardians after their parents die. Jenna is still so young when she takes on this responsibility, balancing school on top of managing two children mourning their parents. Jenna is far from a perfect parent, often letting her emotions cloud her parenting, however, she has a closer bond with her children than most of the parents on this list. She allows them to be messy and imperfect, but makes sure they still feel loved and safe. In her last moments, she spends them trying to protect Elena.

She gets massive points for finding Damon hanging around her teenage niece weird. But does lose some for not actually doing anything about it. Jenna likely would have been even better had they trusted her with the truth. A lot of her struggles was her attempting to make sense of what was happening with only half of the information.

4. Caroline Forbes

Caroline clearly loves her daughters and would do anything for them. If we were only looking at TVD, then she would be right up at the top. But we can't ignore Legacies. While the writers do a better job of implying Caroline is invovled in the twins lives, there are just too many moments that it didn't make sense for her not to be present. She essentially, like so many of the TVDU moms, abandons her daughters due to writing.

I haven't seen Legacies, but even I know that Lizzie dies and becomes a heretic and Caroline doesn't come back for an entire season. While I believe the excuse is that Caroline is seeking a way to end the merge, the twins are still years away from the merge and her daughters needed her. Especially with how neglected they felt with Alaric prioritizing Hope. It's a shame the writers ruined Caroline as a mother because she was clearly dedicated to them when they were little.

3. Freya Mikaelson

While Freya wasn't Hope's mother, she essentially becomes a surrogate parent to her when the rest of the family is forced to separate. Freya is willing to do anything for family and oddly enough that does lose her some points. At times she does allow her determination to keep her family together to put Hope in questionable positions. But it always comes from a place of love. She is also one of the few family members that stays connected with Hope after she loses her family. Freya would do anything for Hope and she proves it by being willing to turn into a vampire and take the Hollow to save her. Even though Freya is a late arrival to the Mikaelson family, she winds up having one of the closest bonds with Hope out of any of them.

She and Keelin also have a child later, so honorable mention to Keelin because, even with zero evidence, I just know Keelin would be such a great mom.

2. Sheila Bennett

We don't know much about Sheila as a mother to Abby, but she took on that role for Bonnie and excelled. Sheila was one of the few adults who was actively invovled. She would do anything for Bonnie, even watching over her from the otherside. Anytime Bonnie needed her, she was there. They had such a special bond and Grams died far too soon. Grams knew just how kind and selfless Bonnie was and attempted to protect her from herself multiple times. But Grams wasn't much different, performing the complex spell, knowing it would likely take all of her energy. If Grams had lived, I just know she wouldn't have allows Bonnie to be taken advantage of the way she often was throughout the series. Sheila Bennett was a force to be reckoned with and no one was allowed to hurt her granddaughter.

Again, extra points for warning Damon to stay away from Bonnie, but she could have held that same energy for Stefan. We needed more mothers protecting their teenagers from being preyed upon by these 100+ year old men.

1. Hayley Marshall

There's no question who the best mother, no best parent, in TVDU is. From the moment Hayley decides to keep Hope, she does everything in her power to make the best life she possible can for Hope. Not only does she protect Hope's physical safety, but she also protects her emotionally and mentally, something that is missing from a lot of the other parents. Hayley will do whatever it takes to protect Hope, even if it is not a popular decision.

She was at a large disadvantage since many of the threats to her child were leagues more powerful than she was, but she never backed down. The amount of enemies she faced off with, knowing she likely didn't stand a chance, all in the name of protecting Hope. She was ready from the beginning to die for Hope and inevitably did.

There is also something to say about the bond they have throughout the show. Hope clearly feels safe and loved by Hayley, even when her life is in complete chaos. I don't think a mother-daughter bond comes close to the trust and love Hayley and Hope have for each other (besides Grams and Bonnie). Hayley had to be killed off in TO, because there is no way Hope would have been able to go through what she did in Legacies if Hayley was around. Hayley got one phone call from Alaric and dropped everything, traveling halfway across the country to bring Hope home. She disciplines Hope, but also talks to her, making sure she understands the deeper reasons for why Hope was acting out. There is nothing Hope could do that would make Hayley hesitate for a second to love and protect her.

I just know if Hayley had heard about a 150 year old vampire (Roman) hanging around her daughter, she would have immediately gotten invovled. She had gone down that path and wasn't about to let Hope get dragged down it as well.

Honorable Mentions:

Jo Laughlin - If Jo had been given the chance, she would have been a great mother. She was a very maternal person and loved the twins so much. Unfortunately it's hard to judge since Kai took that chance away from her. Valerie Tulle - Valerie is another one that I am just assuming she would have done a great job if given the chance to have her child. While she did a lot of questionable things, at the end of the day she was a compassionate person who would have done anything to protect her child. Miranda Gilbert - Miranda seemed like an overall good parent, seeming supportive and compassionate to Elena when she was having issues with Matt. I honestly don't remember how much she knew about the supernatural world or the vampire hunting her husband's family was into, so potentially problematic if they were dragging their family into the supernatural world. However, we don't know much about Elena's mother, but we do know how much she loved her. Hayley's Mother - Again, we don't know much about Hayley's mother, except for the fact that she agreed to her daughter's arranged marriage when she was an infant and that she sacrificed her life to protect Hayley. From what we are told, it seemed like Hayley's parents were on the right side of the war, but it is hard to say. Nadia Petrova - We assume Nadia had a child so she is in the honorable mentions as a mother, but we have zero information on what she was like as a mother. Kai's Mother - I'm just going to assume she was awful. We know Kai grew up not being allowed to touch others, and being isolated. We don't know anything about his mother, so it could be that she had no control over her own life, but considering she is never mentioned, it doesn't seem that her kids have fond memories of her. Tatia - People often forget that Tatia had a child, but she did. We know she took her child and ran to protect them after her husband died in battle, but not much else. There is no mention of what happened to her child after she died. However, she was a mother so she gets an honorable mention.

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