#have about three more I'm considering...

[beetlethebug]

consider,,,a lucanis who is in love with emmrich, a spite who is in love with rook, a rook in love with emmrich, and emmrich who is in love with all three but wants lucanis, spite, and rook to get together because he feels he is not the type of man any of them deserve...

bonus points for spite being the one to realize just what sort of love quadrilateral is going on and is the one to get them all together.

[cozylittleartblog]

bug doodles so i can say i drew something

[devilsskettle]

The X trilogy + "psycho-biddy" influences

[itwoodbeprefect]

the great thing about falling really deep into a new media niche is developing opinions on many new things. the terrible thing about falling really deep into a new media niche is developing opinions on many new things

[necrotic-nephilim]

I started in DC by reading fanfics, but as I began to read actual comics, I started to be unable to read the actual fanfic that got me into it in the first place because it's so out of character.

But there are still some stories that I love to read because I love the found family trope so much, even if it isn't really accurate to the source material.

As a comics purist (sometimes), are there tropes that you like enough that you'll still enjoy a fic even if it's not accurate to canon?

oh my god this is SUCH a fun question. bc while i started with the comics, there were certain characters and/or character dynamics where i was exposed to the fanon before the canon (just bc it's hard to read everything when you start out just to read some fanfic) and so i've definitely experienced the fanon to canon transition. (*especially* with Jason Todd. i had only read 80s/90s stuff where he was already dead or the New-52 bc that was on-going when i got into comics and man. the fanon misunderstandings i had about him before i got frustrated and sat down to read all his pre-Flashpoint stuff were absolutely bonkers.) and aside from that, whilst i tend to prefer canon over fanon, i'm not past giving fanon its flowers for occasionally having really interesting insights. occasionally. so some of my fanon "guilty pleasure" tropes would probably be

Morally Grey Tim Drake - this is one where if you try to back it up with canon, i *will* get salty about it. of everyone in the Batfam aside from maybe Bruce and Cass, Tim has the *most* black and white morals. often his internal conflicts are routed in such an inability to compromise his moral views and it can cause him to clash with other characters. he's *very* stiff and rigid in his beliefs and is *rare* to compromise in even the smallest ways. i mean, DC has repeatedly used Tim Drake of Tomorrow/Savior/Gun Batman!Tim for a reason. it's to demonstrate that of everyone, Tim *cannot* have his morals compromised. there's no grey area for him. he's zero or a hundred, so if he tips over the edge of "too far" he tips *all the way*, and doing so is one of his worst fears, how he could go "too far" if he let himself. a couple panels out of context from Red Robin (2009) (which was a grief spiral for Tim to begin with) don't change that. now that said. if it's done *right*, i sort of love Tim being morally grey in fanfic. it takes a specific flavor for me, and it's incredibly important to include that mental spiral along with it, of him struggling to justify it. i don't have any interest in "Tim Drake is loosy goosy with Bruce's morals and has the highest kill count and no one knows teehee" bc it doesn't play with the interesting parts of making Tim morally grey, which are fracturing his psyche. but all in all, i think it's fun to put Tim in a morally grey area and i will read it in fanfic and i enjoy writing it a lot

Joker Junior!Tim Drake - i've not written it on this account (yet) but on my main ao3 account one of my biggest fics surrounds this concept. this is one of those "well *technically* it's canon but only in a specific very divorced from the comics universe and would not work at all in the main timeline" so, i categorize it as fanon in that 95% of fics exploring the concept are not doing so within the Batman Beyond universe, but the main timeline. i just love it. I'll take any excuse to whump Tim, but this concept is so fun. psychologically breaking Tim will always be my favorite pastime. there are so many ways to explore the long-term effects this could have on him, how it could affect the Batfam. i'm not a fan of it being used as a "gotcha" to Jason or Babs' trauma with the Joker to paint Tim as the Ultimate Victim, but it is fun to see how their relationships would be affected by being mutual victims of him. (i have a vague JayTim idea where TIm fully retires from being Robin after being Joker Junior and killing the Joker, making Steph Robin for most of his typical Robin era and Jason still tracks him down out of curiosity bc he wants to know what happened and all. very underbaked but i've got thoughts.)

Renegade/Apprentice of Slade!Dick Grayson - this is another one where yes, this happened *sort of* in canon, but i highly doubt most people writing Renegate!Dick have read or are actually pulling from Nightwing: Renegade. it's just an exploration fo the concept fo Dick being Slade's apprentice and i will always eat it up in any capacity. whether Dick grows up with Slade from a young age, or chooses Slade for whatever reason later in life. it's not anything that works in canon bc it compromises Dick morally (similar to the above with Tim) and therefore will always come across incredibly fanon in most fics. but i can't say i don't enjoy it. it's fun to make Dick a little morally fucked up and see what you can make him under Slade's tutelage.

Jason & Damian Meeting in the League -there's no world where i believe this could work in the canon comics. (maybe in the Young Justice cartoon i suppose, but even then i think it's iffy) i would go as far to say it's wildly unrealistic. i don't see a world where Ra's would let Jason anywhere *near* Damian, bc Jason was Talia's pet project that he didn't approve of. that all said, there's something very interesting about how they *could've* met and them potentially bonding during that timeframe. them being somewhat brotherly during this time because Jason sees Bruce in Damian and sort of latches onto the kid and Damian is full of wonder hearing real stories about Batman and Robin, then that getting violently ripped away by Jason leaving the League is fun to me. it's fun how that could affect them within the Batfam and all. it's super fanon to me, but i do not care. i will eat it up

Bad Dad Clark Kent/Good Dad Lex Luthor - i will admit as a late, i've been less and less kind to this particular fanon bc of everything i've argued with people about, *this* one seems the most pervasive as misunderstood fanon. i don't mind when fanon exists, my gripe is when ppl try to claim it's canon. and the *arguments* i've had over this with people who can never seem to cite an actual comic are... frustrating. but that said, i think there is something fun to this strictly in fanon. the duality of who you expect to accept Kon and who you expect to hurt him being flipped is just sort of fun for the occasional guilty pleasure fic. it can make Kon's internal conflict a bit more interesting. the same goes for the Jon favoritism from Clark, it's not a canon thing (and i rlly wish ppl understood how complicated the timeline of Kon and Jon is and any distance from Clark toward Kon isn't malice, it's that Kon is from a timeline that Clark does not remember in the current canon so Clark just straight up doesn't know the poor kid.) but it's sort of fun to give Kon that complex of being overlooked and forgotten sometimes. making Kon just a *bit* more Luthor than Kent will *always* appeal to me in fanfic, especially if he *knows* it's wrong but craves approval from anyone who will give it.

Good Dad Bruce Wayne - i'll die on the hill Bruce is canonically a shitty father. maybe not to the extreme some people write him as, but he's not great at it. that said, i enjoy it in fanfiction. sometimes, i just want silly fluff or hurt/comfort where Bruce finally gets it right and manages to comfort whatever Batkid is in the fic. one of my favorite fics of all time is hinged on Bruce being a good dad, so i think it's just fun to explore how good the relationships *could* be, if Bruce was slightly less of an asshole. i usually prefer him as an asshole, but there are times i want low stakes nonsense.

Gotham Rogues Having Soft Spots for Robin(s) - just about every Rogue in Gotham has done something absolutely irredeemable, and most of them don't like or care about anyone in the Batfamily. but if there's a fic where one of the Robins inexplicably is sort of close with a Rogue and they have a cute silly relationship out of it? I'll eat it up i fear. Steph and the Riddler are besties? I'll believe it. Tim and Scarecrow get along pretty well? give me ten of these. Rogues protecting Robins just hits a spot. the unexpected nature of the relationship, as well as the fact they see each other regularly, can make a lot of good fodder.

[gingermintpepper]

Someday, eventually, I will get an opportunity to talk about Celtic Apollo.

I see a lot of discussions and content (light-hearted and not) talking about Greek Apollo and Roman Apollo but y'all don't understand; it wasn't just that Greek Apollo had a second Roman Apollo hidden in his pocket, it's that Greek Apollo also has a secret third Celtic Apollo hidden behind his back like a tramp stamp he got in college and refuses to acknowledge or show to anyone.

[galactic-rhea]

Thoughts on Padmé x Anakin x Rex?

Padmé and Anakin are so mutually obssesed they would first have to check into that before trying to bring another person to their carefully-balanced-kind-of-damage or something it's going to explode.

Honestly it's a fun ship! But I don't have too many thoughts about them because when I consider them is usually in very low-stakes-fun-AU-scenarios.

And I'm actually a bit of a fan of Rexwalker myself! Athough I tend to like them more as very good buddies, the covering-for-you-dynamic it's so funny for them, lol It's also angsty and complicated because, y'know, the power-imbalance and unchecked trauma? Is funny that the clone that's actually a slave for the republic is the most normal if you bring him into the anidala romance circus.

Also shout out to @phoenixyfriend , she has a lot of rexanidala fics and recs for anyone interested reading this!

[dw-flagler]

In this post, I will attempt to calmly, reasonably, and in-a-good-faith-manner argue all the points raised by tumblr user @library-bat-girl in the following posts. I am starting a new thread so as not to further destroy the original poster, @skitterenjoyer's, tumblr notifications. Worm (+MHA) spoilers ahead. This will be a long post.

Firstly, I would like to apologize on the worm fandom's behalf. We will not engage in ableism of any kind. I sincerely hope that this was a singular incident and @skittersdrippygirlcock will be better about this in the future.

"MHA has better characters,"

My Hero Academia's primary achievement, I think, is managing to make many decently well rounded characters in a fairly short time-span. It certainly has very good visual character design, with easily memorable character designs, like Mina Ashido or Tsuyu Asui. Most of Class 1A is shown to be more than single-note gimmick characters. For a story with such a tight schedule, and only so much page real-estate, that's impressive! For instance, a character decidedly outside of the main cast, Fumikage Tokoyami, is shown to have more to his personality than "is an edgelord," showing a humility and friendliness that is highly against-type. This is very different than a lot of its peers, especially in Shonen manga, where side characters (and sometimes even main characters) are never more than their tropes (see Fairy Tale, One Punch Man*, The Seven Deadly Sins, or Black Clover). My Hero Academia does clear that bar, by making side characters little more than their tropes. This is to say nothing of the primary cast, who, again, is largely defined by tropes and easily slotted into standardized interchangeable Shonen roles. Rival, Love Interest, Rival but Nice About It. Additionally, MHA has an uncomfortably sexualized main cast, for one composed primarily of minors.

This is compared to Worm, in which many characters are fully realized and could have been the protagonist (and often were in older drafts of the story, due to Worm's 10-year development hell). Every character that gets an interlude, and most that don't, all have fully realized interiority, traumas, and wants. In fact, this is one of the major themes of Worm. Every character, from the protagonist Taylor, to characters so minor they're seen only once (see Damsel of Distress, Dauntless), to major antagonists and monsters (see Jack Slash, Bonesaw) all have their own story, even if this is never shown on-screen. There are no "side characters" in the same manner as in My Hero Academia, because every character is a protagonist of their own story, and not in a trite "life is so beautiful" way.

Taylor isn't the center of the universe, there's an entire world outside of her 3-block bubble. The mechanism by which all characters get their superpowers means that the mere fact of having powers implies this about them. Even the seeming exceptions, aren't (see Alexandria, Garotte). Taylor is a good character. I don't even know how to elaborate on that. She just is. Worm does not have the character Minoru Mineta.

"a better plot,"

What... what is the plot of My Hero Academia? For the life of me, I can't seem to recall. I can tell you the general formula of most of the arcs for the first ~2/3rds of the story. Class 1A goes to do a hero high school thing, like do rescue training, or on-the-job training, or on-the-job-training, or on-the-job-training (they do it like 4 times for some reason), the League Of Villains shows up (even when it's seemingly not the league of villains it actually is the league of villains) they fight about it, the class beats all the villains, and Deku beats up strongest bad guy and also breaks his bones. Repeat step 1. But like. What's... the plot? The League of Villains is evil and wants to kill people and do bad stuff. They explicitly do not have greater motivations. There's generally themes of passing-on-to-the-new-generation, so there's Tomura Shigaraki as the arch nemesis to Izuku Midoriya, just as All Might's Nemesis is All For One. Eventually they fight a big fight about it and I stop reading because I find out about Worm. From what I understand (I have not read the conclusion) the series ends without addressing any long-running questions, wrapping up any character arcs, or concluding anything in a narratively satisfying manner. As if severely rushed.

Worm, there are maybe 15 main stories going on simultaneously, which are all tied into the final confrontation with Scion. The most obvious is Taylor's and the Undersiders' story, about taking over Brockton Bay and defeating Coil, which is a smaller part of Coil's story about taking over the bay, until their confrontation with him in arc 17, when it supersedes Coil's story, and then intersects with Cauldron's story, the Traveler's story, the Case 53s' stories, the Wards' story, all of it, in arcs 18-19. This is one example. A great deal of attention is spent making sure the reader knows that Taylor, the Undersiders, Coil, all of them, are bit players in a very large game. Despite this, it's never hard to follow, because Wildbow, while lacking some of the more flowery prose, manages extremely well at making his stories easy to understand.

"I feel like even people who like Worm can agree that Worm is not the most consistent piece of fiction ever written. The disjointed way it was written meant that emphasis was primarily put on 'What Wildbow thought was cool in the moment', [sic] and the story RADICALLY shifts gears every time a new arc starts."

What? Huh? Worm is extremely consistent. Like. 1.1 to E.x. It's, like. Not disjointed? Oh my god, are you talking about interludes? Is that what you mean? The interludes shift gears? Because that makes sense. It's one of the hardest things about worm, yeah. It's gripping! The interludes are a great idea to expand the world of worm, but the problem is that taylor's story is so intriguing that stepping away from it to focus on something else is hard, no matter how individually interesting. I want to read about taylor's escalation spiral, not the travelers! (As opposed to My Hero Academia having random escalation and de-escalation between arcs with no real explanation. We're reading about lives-on-the-line battles with child-slavers and then move to playing on a playground with little kids? Best I can think of is that this whiplash is intentional, but this is never communicated to the reader. Worm does not do this. Any de-escalation is met with the explicit understanding that this is merely a period of calm before things get even worse). Taylor's story wraps up in an extremely narratively satisfying fashion, following her story to its logical conclusion. There were so many ways it could have been avoided, but there was really only one way that it could have ended.

"better worldbuilding,"

This actually offends me. MHA could have had great world-building. It doesn't. Every potentially interesting bit of world-building is backpedaled out of or stopped before it could get anywhere. Or it's just never elaborated or expanded upon. Everyone having a superpower could have been cool, but the implications of this are nonexistent. The reasons for this having no real implications, that being the banning of quirks, also has implications that are also immediately backpedaled out of. It's been hundreds of years since our time, yet life is exactly the same. Nothing ever happens. Endeavor is a cool concept. I like Endeavor. his existence implies such interesting things about the world, how important hero ranking is to these people's lives, that he would create this horrific system of domestic abuse to try and get to the #1 spot. What does this say about this system of heroes that operates like a popularity contest? It could have said a lot. It says nothing. What does the League of Villains, a league of people who call themselves out-and-out villains, who base their ideology in opposing this system of heroes, say about society? Nothing. On purpose. Worm does something with this. One Punch Man does something with this. My Hero Academia puts it in the story, and lets it sit, unused, for a decade.

Worm has... unique world-building. Because it's both good and bad at the same time. Worm's #1 feature is its world. It's brilliant, full stop. Triggers, The Birdcage, the PRT, Exclusion Zones! Why does the status quo exist? what does it say about that society? What does it say about our society? Why hasn't society radically changed from how it is in our world? This is explained. This plays into the themes. The story wants to say something about this world, and so it does. There are characters whose stories explicitly delve into these themes that are set up in the worldbuilding, like Armsmaster, or Battery, or Bonesaw, or Coil, or Piggot or Alexandria or Taylor herself or Brian or Lisa or ANY OF THEM THEY ALL DO THIS. Sorry.

Anyway, the bad part is that the actual world is not well built (and is kind of racist). What's going on in Europe? There's a 3 blasphemies! a 3 what? never explained. What's going on in Asia, aside from Japan? China is a monarchy for some reason. Why? It's never elaborated on. India gets a little bit of elaboration, we're told its different but not how it's different. Wildbow uses machine translation wrong and names some guy caliph of dogs. This is like worm's #2 problem honestly (#1 is Amy). Wildbow tries to make the implication of a well thought out globe without actually making a well thought out globe.

"stronger themes,"

It really doesn't. As I said in the worldbuilding section, MHA makes a point out of not saying or doing anything. I don't know if editors made Horikoshi walk back the more ambitious story beats or what, but there are multiple points in the story where the author pretty much looks you directly in the eye and goes "This Story Isn't Saying Anything At All Even Though It Looked Like It Would. Lmao."

Worm has lots of themes. I think Armsmaster/Defiant's story is my favorite. His entire character arc (which is fully realized despite him being a background character for nearly the entire story) has a point to it. It says something. It's misanthropic and uplifting simultaneously, and manages to feel like it earns both. It's a shared theme with Bonesaw/Riley's story, explored in two different ways.

"Meanwhile MHA establishes an actual overall theme/message right from the start that expands and develops throughout the story. The worldbuilding is informed by the message, which informs the characters arcs and the people they become by the end of the story."

I notice that you never actually say what that message is. What is it? Like, for real. I'm not being confrontational or anything, like what is the message? Cuz' I can't think of one. My Hero Academia, at its very core, is a defense of the status quo. Much like its world-building, but much less forgivable, because it does do something new and unique with its world-building. MHA could have done some extremely interesting stuff with its early implicit critique of heroic society as shown with characters like Bakugo, or Shigaraki, or Endeavor, or Overhaul, or Midoriya himself! It just doesn't! It doesn't do stuff that Worm does do!

Worm does have a message. It has a lot of messages, actually, some that the author disagrees with somehow. Prison abolition, for one. We know Wildbow loves prison. Anyway, the big one is in the subtitle: doing the wrong things for the right reasons. Taylor's constant spiral of escalation, her dwindling attachments to her friends and greater focus on treating herself like a soldier is prevalent, and it is to be avoided. Taylor isn't a sin-eater. They don't exist. From what I remember, this is sort of explored in Deku's character arc for a short period of time, but much like everything else in MHA, it is backpedaled out of.

The funniest is "don't text and drive" though.

"Just on a basic level the way that the audience is meant to feel about Taylor oscillates wildly between being directed to think of her as a misunderstood victim of circumstance, or history's greatest monster."

That's kind of the point. Like. the audience isn't meant to look at Taylor the same way throughout the entire story. It's meant to change as she changes. Taylor's opinion of Taylor changes. The mistake here is saying it "oscillates wildly." it doesn't. It's a slow and steady change for the worse, as Taylor gets more violent and starts throwing away greater and greater parts of herself to become more like a robot and less like a person.

"But a bigger issue in general is tone. It's very focused on being dark and gritty and edgy, and it makes the mistake a lot of consciously edgy media does. IE: it thinks that all it has to do to be smart is be bleak and/or graphic. It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is."

Did you read the boys and think it was worm? What? It's not being smart when it's bleak or graphic? I actually personally like the endbringers or the slaughterhouse 9, and not because I like watching people suffer. These things exist for a reason. It's not being dark for the sake of being dark. The heroes could stop the slaughterhouse 9. We see that, when they almost stop the slaughterhouse 9 (it's explicitly shown that they are stopped from destroying the slaughterhouse 9). The question then becomes why don't they? It's a grim, brutal calculus, and one that wasn't worth it. That's the point. The Endbringers are different. It's not until arc 27 that they're really explained. You could either read them as a criticism of Eidolon or of ableism, honestly. I mean, it wasn't intentional, he didn't create them on purpose, he needed something to fight, because without that he's nothing. His powers are all he has.

"Worm spends so much time trying to be edgy that as with a lot of edgy media the edginess loses all impact quite quickly and becomes sort of cringe."

I don't really think so, but like. Okay. I don't think this is a reconcilable viewpoint (none of this is really but this especially), so like we're probably gonna have to agree to disagree. The only thing I can really think of as edgy for the sake of edginess is Amy's arc. But even that's not really true. It's meant to be an utterly avoidable tragedy that could never have been stopped because of the people involved. Much like Taylor, actually. Amy could have stepped back from the brink, but she didn't, because Amy could never have done that, and nobody else was willing/able to help. It's supposed to be a thing where you sit back and think of all the tiny ways this could have easily been avoided, but wasn't.

"When body horror happens it still has impact because it's not happening constantly."

I mean, I guess. But like. I never got desensitized to the body horror in Worm. It hit pretty consistently for me throughout. As opposed to MHA, where it was usually walked back by the end of every arc. I never felt much tension or suspense because it felt as if there weren't actual consequences. In Worm, when Brian was strung up on his nerves, it felt disgusting because I was fully aware Worm would explore the ripple effects of this. It felt entirely possible he would die there, or never recover, because Worm didn't pull its punches. MHA did. This is a matter of opinion. We'll just have to agree to disagree about it.

"But most importantly - you root for the heroes because the world actually seems like it's worth saving."

that's just, um. sorry. I'm really trying here. That's just. Uh. Dumb. Do you root for Batman cause Gotham is a nice city? Everything's worth saving, that's, like, at its most basic what the concept of a superhero is about.

"Not only that but MHA simply does villain protagonists objectively better than Worm."

um. No? There straight up aren't villain protagonists in MHA. The villains are the POV characters for, like, one arc? You know what, here's a good spot for it. It's stated throughout the story that Shigaraki and the League of Villains have a goal, beyond just death and destruction. They're here to stop the corrupt society of heroes (that MHA hints at the existence of before backpedaling away from), and bring about a fairer society. But then, and this part pissed me off, one of the characters, I think Bakugo, says: "you're just using that as cover! you just want to kill people, you have no noble goal!" and shigaraki's like "dang you caught me." and then it happens again with Deku! Because My Hero Academia is allergic to saying something. Nope! They're villains! No moral depth here! They're Villains, We're Heroes, Go Put Them In Jail.

This is opposed to Worm, where- "The characters of the villains and their origins are used to highlight the flaws in the Superhuman society"

"Most of the villains are only villains because society failed them in some way, and the specific ways in which that happened become big plot points that then play into the future arc of our heroic characters."

I had to walk away from my computer for this one. It's hard to be civil. It's really hard. Polite and reasonable.

So Worm is about this. To even say this without a shred of irony makes me thing you've never once read a single word of Worm and are doing this purely as bait. Or you've read all of Worm and are doing this purely as bait.

"They're actually extremely complex in a way that ends up being fundamentally important to the overall story - where in Worm the villains are either based heroes fighting a corrupt system or they're histories [sic] greatest monsters... until they're presented as heroes again."

I think I get it now. I really think I do. You're not supposed to agree with all the characters. Like. Worm is inconsistent, in that it follows the perspectives of inconsistent people. Of course Triumph and Armsmaster don't agree on what is right! They're different people, they have different perspectives!

"See. Worm fans keep saying "This is Bait." It's not Bait, you all are simply ridiculous and obsessed with this series to such a degree that you feel compelled to say "This is Bait" instead of just... ignoring it, because you have no actual counterargument."

Perhaps worm fans are inclined to believe you posted rage bait because you brazenly walked into another fandom's post and wholeheartedly proclaimed that the thing they liked was Stupid Idiot Bullshit For Fucking Morons, and refused to elaborate until prompted, at which point you said several things that are demonstrably false about Worm.

"Your only response to anything I've said is pedantry, bigotry, and deflection. If it was obviously just bait why are you engaging?"

Well, I'm engaging because I've been in a foul mood since I woke up this morning. Also because you, again, said some very rude and patently false statements about a story that I really enjoy and find narratively rich, even in its faults.

"MHA's characters do fall into archetypal shounen character roles - but they are all given a solid amount of focus explaining why they are like that and developing them into something bigger."

Again, as I said, it's a genuinely impressive feat to have an ensemble cast like what My Hero Academia has, and give so many of the characters a degree of depth, with such little manga to work with. I think worm does it better, but worm doesn't have to be economical about it. MHA does. The problem I have with this statement is that it becomes a question of scale. How much bigger? They're no longer defined by their tropes, instead defined by their opposition to their tropes. It's still a one-note character, you've merely changed the note from C to C sharp.

"so almost every member of the cast has an arc that either develops them past the person they initially seemed to be or explains why they're like that."

This is probably my favorite part about MHA. They do have arcs! I love ensemble casts! it does a much better job in this than all of its contemporaries, even One Piece. However, they are comparatively simplistic arcs that all follow a similar formula.

"I've heard people say MHA is neocon or pro-establishment but the story literally concludes by showing that society HAS TO FUNDAMENTALLY CHANGE or the same problems that created the villains in the first place will keep happening. The entire time skip specifically focuses on the fact that for eight years the main characters have been forcing change in the world and addressing the issues the villains brought up."

Now, I'm going to be clear. I stopped reading My Hero Academia around chapter 275. I don't know the exact number, but it was the latest chapter in ~mid 2020. I would occasionally attempt to reread, in an attempt to catch up, but give up around chapter 200 out of boredom. I don't know exactly how the story ends, but I have read ~2/3rds of the story. I feel this gives me a pretty good understanding of the general tone of the story, unless it wildly changes tone at the 3/4ths mark, which you have explicitly said it does not, as it is extremely coherent and consistent. Therefore, I believe I can state with some degree of confidence that MHA does not do that.

I would certainly believe that it tries (and fails) to SFP it, but SFP does not promote a fundamental societal change. That's the problem. Strong Female Protagonist was willing to come up and say that Alison lived in a fundamentally unjust world, even if it was never willing or able to offer real change. And hey. You do what you can. I sincerely doubt My Hero Academia is even willing to call its world fundamentally unjust, from the 200+ chapters that I did read.

"In the case of the actual main characters, they have extremely comprehensive character arcs."

Adding this behind the last point just so that I don't have to reiterate I haven't finished the book. I am, however, very much not inclined to believe the actual main characters had extremely comprehensive character arcs.

Which plays back into the initial theory that ANYONE CAN BE A HERO.

man, spider-man did that better (not a real argument, but like, spider-man totally did that better). Not least because midoriya specifically could not become a hero were it not for all might giving him a power.

No, the Villains don't get happy endings,

Why not? Why do they go to jail, even the ones who changed and wanted to redeem themselves? Endeavor never goes to jail. He did some horrible stuff. He's redeemed himself in the eyes of the story, right? Anyone can be a hero, right? So why not them? Why haven't they redeemed themselves in the eyes of the story?

You may wish to turn this back on me and ask why doesn't Armsmaster go to prison? Because he's similar in some respects. But worm never calls prison justice. (for some reason, even though wildbow totally loves prison). Prison is punitive, a tool for those in charge to control those it manages to capture. Maybe some deserve life in the birdcage. Many don't. It doesn't matter. Because the birdcage isn't a tool of justice. It's not meant to be. it's a box to put the uncontrollable capes in, until they can be used as meat shields. So Armsmaster doesn't go to prison because the story says explicitly there is no point to it. But MHA? MHA says there is a point to it. Endeavor needs to go to prison if he wants to atone. He's escaping justice every second he's outside.

I have actually read Worm, and for the first half to two thirds I loved it.

Weird. That's exactly how long I really enjoyed MHA. Not, like relevant, to anything. Just odd. I mean, I don't actually dislike MHA. I think it's fine, actually. It feels like Indiana Jones and the Last Crusade to me. Funny (when Mineta isn't around), bombastic, and a good time, even if I don't think it's super thematically rich.

I'm not coming at this from the perspective of someone who has never seen any of the merits of Worm, I'm coming at it from the perspective of someone who really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right.

See, this makes me more inclined to think it's bait, actually. since you said "Oh yeah. MHA is published. MHA's been an ongoing publication with a large following for ten years, in a notoriously competitive industry. Now this might seem kind of unimpressive, it's a very low bar to clear I know. But it's one Worm hasn't, so. I dunno, I'd say that's fairly objective. Now you may think "Yeah, but Trash fiction gets published all the time." And that's true but again - Worm hasn't. The worst piece of fiction you can think of got published and Worm didn't. You wanna be an asshole about this? The thing you love is so mid that it was self published in 2013, couldn't get picked up for professional publishing until 2019 and as far as I can see has stayed in development hell since then." in your previous post. Sure, perhaps we can say you were pissed at the time, but "the thing you love is worse than trash fiction, an altogether nothing piece of literature that isn't even worth the paper it would hypothetically be printed on" does not strike me as the words of someone who "really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right." In fact, going back through your other statements on the story, you seem to have genuinely disliked it from the very beginning, on grounds of being too edgy (which I can fully understand the logic of): "IE: it thinks that all it has to do to be smart is be bleak and/or graphic," thematically incoherent: "It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is," and utterly devoid of purpose or meaning. "When it does introduce new lore that new lore is almost always overly convoluted and acts as a catalyst for things happening, but not really things happening that play into a wider theme or message. It's just "Oh and here's this team of god-level serial killers who are gonna string a dude up by his nervous system." Like yeah, cool visual, but what is any of this actually saying?" This does not sound like a ringing endorsement of the first half of Worm to me. In fact, this sounds like you hated every second of it.

"And frankly given the number of comments that are just people saying "Bait" - I don't think any of y'all have engaged with this in a fair or honest way"

I'm going to reiterate on my previous statement. I like my hero academia. Capeshit is my favorite genre, it probably always will be. They're my favorite genre of story. While I find the themes—or lack thereof—extremely frustrating, I still think of it as fun. I gave it a fair shake. I would probably really enjoy the ending if I didn't have a reading list that was 300 books long.

[serenpedac]

“We belong to the Earth and the sea, you belong to the stars.”

— Zhang Beihai (The Dark Forest - Cixin Liu)

[wonder-worker]

Is it true that Elizabeth of York birth celebrated like she was a son? I have seen some historians say this.

Hi! Yes, Edward IV did celebrate his daughter’s birth as though she was a male heir (“a prince”), iirc as per the Great Chronicle.

While we have no contemporary reports at the time of Elizabeth of York's birth, we know that Luchino Dallaghiexia reported that the birth of Edward and Elizabeth's third child, Cecily of York, "rejoiced the king and all the nobles exceedingly*, though they would have preferred a son'. Wanting a son (ie: an heir) was typical for their time period, likely enhanced by Edward and Elizabeth's unprecedentedly controversial marriage, her very unsuitable origins and his own status as a usurper. The fact that he was described as being "exceedingly" delighted at the birth of his third daughter in a row regardless does support the claim that he would have gone over-the-top to celebrate the birth of his first legitimate** child.

Hope this helps!

*Bizarrely, I have seen several historians and blogs using Dallaghiexia's letter to claim that he was bitterly disappointed at Cecily of York's birth. I don't understand how historical reading comprehension can be so poor that "rejoiced the king exceedingly" has somehow been rewritten as the...exact opposite of that. With no self-awareness whatsoever. **His illegitimate daughter Margaret (known as Elizabeth for some reason) was almost definitely born before his marriage. We don't know the birth dates of his other two illegitimate children: I think the likeliest conception date for Arthur was in early 1470, but it's unverified; and we know nothing about Grace (which was in fact her surname, not her name) other than the fact that Elizabeth Woodville seems to have been very attached to her.

[thebirdandhersong]

i personally think there was no need to make remarks about age

[unproduciblesmackdown]

(genderly) chill as hell if i was only ever glimpsed / detected like this

[guinevereslancelot]

decided to leave my job and i'm gonna fr gonna cryyyyy

[sisterdivinium]

I hadn't sat down to rewatch s2 in a while and now that I'm doing it (for pure entertainment purposes but also for ref for a fic I'm not even working on yet as I have been run down by the VtM doctor superion AU after writing the gen VtM WN AU ahem) I'm kind of amazed at how the feelings are all still there. The excitement, the laughter, the hatred I have for Vincent...

Ah, this show. There is nothing like it.

[sysig]

Just Desserts continental northern map made using this method! :D (Patreon)

[m0e-ru]

I think for me the allure in base releases in persona games is how it feels cloudy and there's still mystery involved regarding how one should go about the concepts and characters introduced in the story. as inconvenient as it is, it's fun to scour different media release after, or even before, that release, to see how they tried to present these concepts and characters, how they actually came out to be, and how they decide to shape them henceforth, adding on to what was already introduced and simply building on it, or topping on details that probably weren't obvious in the initial release, or something they wanted to be more prominent to evoke a more specific image of those ideas.

it's fun to look at famitsu magazines and decipher what those game teasers were all about. it's exciting to read through novels or listen to drama tracks to look a new perspectives of the same story, or even look beyond it. the art book gets released and youre looking through creator comments and concept art and deciding whether to agree to these ideas and decisions or not

but when the re-releases came, golden and royal for me, the whole charm of the game was wiped away and just became too... saturated. the eerieness of bright eye searing yellow wasn't eerie anymore, it just look more mellow and hopeful. from fog and static, theres sub and glitter. which is I guess what they were pretty much going for, when they decided to try out a new technique to draw an audience in. the red and white and black gave a monochrome outlook to the player's worldview, and the flashy and chaotic elements of the ui and other game design made it feel like you were breaking out of the off camera elements that felt too limiting, too controlling and tame, yet dark. now, the flashiness felt like too much sugar in a dessert meant to be a bit more bittersweet. there's a new meaning of rebellion vs control considering how yal's prominence in the plot was completely overshadowed with what az had going on.

I guess what in trying to say in the end is that both the base releases and re-releases have their own charm and can be enjoyed in different ways and through different perspectives. it just makes me a little sad to see how these concepts and characters shrouded with mystery and aching to be uncovered, which is what intrigued me in the first place, were just... stripped naked entirely. you look under the sheets torn off by the people that wanted more people to look at these creations and you see that it wasn't even the same thing underneath. it feels like they stuffed all the things people could like than retaining what these things had that people already like, it's just that they didn't realize they liked it in the first place. their insides were mangled and now their outsides were prettied up as well. all this mystery and intrigue I once found were just blank spaces filled in by someone else rather than the audience themselves

yosuke's closeted nature, kanji's relationship with his own orientation, naoto's own identity and representation. even chie's tomboyism and teddie's malleable inhuman body. and even outside of that, there's adachi, another label slapped on him and exaggerated only the traits that would make him more marketable to an active market that wants to be spoonfed to fill their egos and say they're right. and I sit here looking over all that had happened to realize these writers are not as sincere as they could seem. it's a big project after all, and there's too many people looking over your shoulder.

and the nature of fandom itself, I suppose. if there's mystery and intrigue pressured by audience reaction profit, then then fog shrouding them would dissipate and theres no fun looking through the unknown anymore