#i loved the hell out of this arc. i love playing the villain.

[strange-destinations]

KITTY. WHAT.

how- when- where- do they look the same??? this is what the Master has always wanted isn't it, I'm so happy for her???

HAHAHAAAA YES

I don't think we ever explained or discussed this in any part of recorded canon, so I'll just put this under the cut.

This was the brainchild of me and Ray, like... over a year ago. I think it was after the s3 finale of Game of Rassilon, that sparked it? I suggested it'd be cool/funny/interesting if the Master just happened to regenerate into an identical body to the Doctor, or vice versa. And Ray (I love Ray so much you don't even understand) was like 'cool, let's do that'.

The T&T Doctor and Master do in fact appear functionally identical to each other, enough so that the Master can easily pass herself as the Doctor if she puts in a bit of effort. Their stats and character builds are slightly different, which you may have noticed if you were paying very close attention. Notably: the Master, unlike the Doctor, has muscle. This is in the notes for this arc. 'The Master: like the Doctor, but buff.'

When she's not pretending to be the Doctor, it's probably a bit more obvious that the Master is a different person. Her style is different, she holds herself different, but, you know... the face really is uncanny.

As for who came first, the Master or the Doctor - both would claim that they're the original and the other copied them. Either of them might be right, or maybe it was just a weird regeneration coincidence, or maybe there's something else at play. We may never know.

[captain-lovelace]

People are bribing others to vote for Glenn so in the spirit of fairness, send me proof of having voted Lovelace and I will send you a picture of my guppies and/or my cat!

Sexiest Podcast Character — Scripted Champion vs Unscripted Champion

[la-pheacienne]

Idk. The way I personally see it, the sUbvErSiOn in Rhaegar's storyline is NoT that a hot blonde twink who plays the harp is actually a Machiavellian rapist who single-handedly destroyed Westeros instead of saving it. The subversion isn't even that the prophecy that was supposed to save people actually killed them. The subversion, imo, is that Rhaegar, having the typical fantasy attributes of a hero (his idiosyncrasy and his gender), instead of saving Westeros as he was supposed to, died. He died.

He died. Without accomplishing anything.

He was the only one who knew and gave a fuck about the prophecy, the only one who had the bigger picture and wasn't so deep into the political game, the only one who was trying to figure out a possible solution. He was good, people loved him, he should have succeeded, he would have succeeded if this was a different story, a more predictable sorry. It should have been him.

And he got killed. And instead of that guy, who was decent and good and idealistic, the only one who was, the kingdom is left to Robert, Tywin and the twins. You are yapping day and night about Rhaegar only looking after his cock when in reality, Rhaegar was the only major male character in the rebellion's timeline, with the exception of Ned, that gave fuck about sth that wasn't his own cock. And he lies dead while Robert the actual rapist, Tywin, the actual murderer and the twins, the actual murderers/schemers, aka all your faves, are doing whatever the fuck they please with the power they very unjustly possess.

In some media, subversion is a question of morality, a plot twist, a "the tragic fallen hero is actually the villain" arc. I don't think that's the case with that character. The way I see it, subversion here is about narrative progression. We would normally expect a classic high fantasy hero like Rhaegar to succeed in his quest or at the very least to achieve his purpose after sacrificing himself in a blaze of glory. Not here. Here the hero both fails and falls, and we are struck by the ruthless realism of the game, intentions don't matter, ideals don't matter, everything is shot to hell because the other guy was simply better with the sword. And when we think it's all over and this world is literally doomed to be eaten alive by the corrupted traitors that govern it long before the long night comes, here comes Rhaegar's younger, exiled, uneducated, powerless, enslaved, forgotten sister and suddenly it's not over. It is her who brings the dragons back, it is her who is going to fulfill the prophecy along with his forgotten bastard son Jon (not gonna go into TPTWP debate let's assume it's both of them). That is the subversion. That's the full extent of it. I think that's a substantially richer take than treating him like fucking Griffith from Berserk or sth but whatever.

[littlelostmoth]

The Final Double Exposure Post

Okay, the game is out now and just wanted to share some final thoughts about Double Exposure and the big problems with it. All spoilers below the cut.

Ultimately, even outside of the brutal murder of Pricefield, gaming's most classic wlw couple, the game is just very poorly written. This post will acknowledge that breaking up Pricefield is terrible writing and they do not do it in a way that makes any remote sense whatsoever. While everyone can sit and say "It makes sense they broke up," it didn't. These characters are characters, ones designed to tell a story. Characters who exist as a bright spot for sapphic and queer people playing video games in 2015.

It's the same thinking as everyone used to say "Well if Nathan just had therapy, he'd be better." And to which it would be answered, "No shit, maybe he would have been better with therapy, but it's a story and he rejected going so no he didn't get better and won't get better because that's not the point of the story." Point being, you can self-justify the Pricefield break up with real world logic all you want, but the fact that even Dontnod is sad about the state of it should be telling. That in addition to the leaks about Square hating Chloe and the D9 narrative team hating her, and it was not done as a good faith way to tell a story. Ultimately, the game encourages you to choose the "Kill Chloe" ending of the original game so that Max can retain her memories of her in a pure way, while also removing her from story. If you choose what the D9 devs believe is the morally evil choice, you get horrible Chloe.

There is SOME good stuff in here, but it's not enough to justify the game's existence. Here are the short amount of pros we compiled for the game: the music is well done, the environments are very nice, and the side characters are fine for the most part.

That's it. Everything else is a con: the story, the handling of Max and Safi as characters, the entire mystery of the game basically being shafted in favor of... making the most important thing about Life is Strange the superpowers. It just seems like this game misunderstands what Life is Strange is or was at any point.

Max is so horribly out of character in this game. Why? Why does she do the things she does? Sometimes she feels like a natural adult version of the original game's Max, while other times she's overly horny to the Nth degree. Max has the ability to cheat on her two love interests, and both love interests reject her in the appropriate timelines of pursuance. Within the text of the game, she uses her powers to circumvent the fact that they've rejected her.

Remember the original game's ending? Nightmare!Max accuses Max of selfishly using her powers to manipulate others to her own selfish end. Ultimately, we're left with the fact that Max used her powers to help get others to like her because she didn't have many friends and was a target of bullying. It's morally dubious, but she wasn't doing any of it for like selfish personal gain. It was an extension of her anxiety.

This game goes around this and makes Max purposefully use her powers for selfish gain. The entire first game revolved around the concept of whether or not she was using it for selfish gain. She wasn't. Now the game forces Max to go through the same exact arc, but this time she is actively being awful instead. Not only cheating, but using it to get around being actively romantically rejected.

Then there's how the game handles its story. Like what the hell is going on here? How does any of it make sense. Spoilers again, but the mastermind is Safi, and Safi is a shapeshifter. She wants to take over with world with Max and collect her own superhumans to form a what? A Legion of Doom? Why? Why is Safi a villain? Her villain arc literally comes out of nowhere and the game does little to sell how she goes from wanting a book deal in the beginning to "I have godlike powers, let's take over the world together." Like honey, WHAT? WHY? And the fact the final choice is to join or refuse her??? LIKE WHAT? WHERE DOES IT COME FROM? WHY WOULD MAX, WHO EITHER HAD TO MAKE THE CHOICE TO SACRIFICE A TOWN OR HER LOVED ONE AND IS ETERNALLY TORMENTED OVER BOTH... SUDDENLY ONBOARD WITH BECOMING JUST A GENERIC EVIL GIRL?

And that's it??? Nothing else in the game matters. The romances go nowhere, thus making breaking up with Chloe pointless since it's not like the game allows Max to pursue a relationship seriously any further. Or just the mere fact she's shitty for doing so. None of the plot points of this game matter, and the mystery the game is built on doesn't matter.

It's like... Here's a murder mystery! Without the murder or the mystery! And then... the game just ends. It just ceases to exist and stops without any sort of... ending that feels satisfying. We get an AVENGERS LEVEL END SCREEN OF "MAX CAULFIELD WILL RETURN."

We think about the endings to the other game's endings. They all have some sort of conclusion that feels like its own self contained experience. You get this long and depressing ending of Chloe dying and her funeral... You get this wistful drive out of Arcadia Bay as Obstacles plays. You get Sean surrendering himself to the police so Daniel can live to grow old and not suffer for the sins of those older than him, and how Sean comes out after. You get to see how Chloe and Rachel grow as time passes to the first game. You get to see how Alex chooses to live her life on her own terms after so long of feeling like she was trapped. You get all of these different endings for the game and here you get... what amounts to the exact same ending depending on your choice which is to be horribly evil supervillain when the time comes or not, and then sequel bait with Diamond and Safi. Why? Why does she have a bleed from her nose? Since when did that become a common occurrence for superpowers? Or storms when powers are overused along with nightmares?

In the original game, the nosebleeds are a result of Max twists reality around her as the epicenter. It's the physical damage she gets for what her powers are physically doing to existence. The storm? The point is, we don't know why the storm comes.

When did Life is Strange become about superpowers and taking over the world? When did it become all of these things? Like True Colors isn't a perfect game by any means, but for fuck's sake it at least knew the scale of what a Life is Strange game should be. Small town mysteries with a colorful cast we love and hate. To this day, I still think that the Jed stuff is some of the most morally fascinating questions to be raised in the franchise. To have that final choice be to either forgive him or not? It's an incredible final choice that is so intertwined with the game's themes. To leave or to stay afterwards? They're both extremely meaningful, dual choices.

This game does nothing. That's ultimately it. What did we gain from Double Exposure? Nothing. It doesn't continue Max's character in any meaningful way. It does little to build upon the actual lore of the original game. It doesn't actually use any original characters except Chloe and that's solely to drive it in how much they despise her from a writing perspective.

Regardless of how well each game did at telling their stories... They all had something meaningful to say in some way. Even if Before the Storm is not a game that I'd necessarily say is amazing, there is some thought and thematic purpose put to that game. It's still 1000 times the game this will ever be.

When I was first exposed to the game's ending... the emotion I felt was pure and raw bafflement. Not anger. Not sadness. Bafflement and bewilderment. I had no idea what the fuck I just played or what I gained from it? What does Max as a character gain from this story? What do any of the characters in this game gain from the story? Nothing. The game starts and then it ends. And we all gained absolutely nothing from the experience. (And in BtS the ending is fine, because it's a prequel that has to have a clearly defined ending to lead into the first game. You can't break Chloe and Rachel's relationship, it always has to be what it is.)

For a long time I really hated the Life is Strange comics. It felt like a kick in the head to the original game's story. But then after it ended and this came out, we can view it as a more honest and genuine follow up to the games as opposed to... whatever we got here.

The comics focus heavily on Max's perceived guilt over what happened to Arcadia Bay. She comes to believe that she, herself, is the problem in reality. That she makes everyone around her unhappy, including Chloe. While Chloe reassures her this is not true... she ends up displaced and removed from reality... and punishes herself by sending her to a world where Chloe is happy with Rachel.

The rest of the story is Max and Chloe apart for years, as Max wrestles with her guilt... while Chloe waits for her. Chloe waits and knows Max is out there still. Max eventually realizes how wrong she was after self-reflection and being around the alt!Chloe and Rachel helps her realize she was wrong.

Chloe builds them a home.

Chloe comes to move past her own grief, just as Max did.

Chloe helps rebuild Arcadia with her own hands. She decides she has a home. This town, with Max. And then they're together... And that's what matters because... like Michel said: "They have each other."

And that is what Life is Strange was about. These two young women, who were best friends... they grew apart through tragedy and life circumstances... And then they found each other again, fell in love, and even in tragedy had one another to rely on.

I am who I am because of Life is Strange.

I met the love of my life because of Life is Strange.

And no matter how bad Double Exposure is... It can't take away Life is Strange, Max, or Chloe from me.

No.

It can't take them away from us. From all of us who cared enough to stick around this funny little 20$ adventure game from a decade ago.

[fahye]

book recs: feb 2024

(disclaimer: I have spent nearly three months languishing and sullen with post-COVID symptoms and have read, over dec-feb, eighty-one books. this is a ruthlessly streamlined list of recs that does not include, uh, all the rereading of sarah maclean and charlie adhara and georgette heyer books.)

AT FIRST SPITE by olivia dade - what if I moved in next to the man who ruined my engagement to his younger brother, and tried to ruin his life by playing monsterfucking audiobooks really loudly?? a heartfelt and lovely romance that also expertly sets up a great small-town setting for an ongoing series.

THE REFORMATORY by tananarive due - historical horror based on the existence of a real school for boys, clear-eyed and brutal in showing the the effect of racist systems in the 1950s american south. compelling as hell. even if you're not usually into horror, I'd recommend this: the ghost aspect is light-handed and really not as important as the horror of what humans do to other humans.

SOMETHING WILD & WONDERFUL by anita kelly - this is a m/m romance about walking the pacific crest trail which made me see the appeal of very long walks. a miracle! it's gentle and emotional and well put together; the characters really grabbed me.

THE BELL IN THE FOG by lev a.c. rosen - the followup to 'lavender house', and somehow even better?? a historical mystery series featuring a queer private eye in 1950s san francisco who looks into crimes against other queer people. amazing queer history! ACAB! I hope there are fifty more books in this series.

FEAST WHILE YOU CAN* by mikaella clements & onjuli datta - beautiful, greedy, terrifying small-town horror that is also a fucking fantastic, gorgeously written sapphic love story. this one IS for the horror fans. it gave me the absolute creeps but I couldn't put it down.

LADY EVE'S LAST CON* by rebecca fraimow - I described this on bsky as 'if you like Leverage, space opera, old screwball comedies, and dashing sapphics who are at all times spiritually wearing a leather jacket: this one is for you' and I stand by that. huge amounts of fun.

LONG LIVE EVIL* by sarah rees brennan - I will be screaming from here until forever about SRB's first adult fantasy book. if you like the isekai'd-into-a-villain-character setup and want it to be hilarious, genre-savvy and wildly angry and clever, you will roll around in this like a blood-stained mud puddle and then beg for more.

THE LAST HOUR BETWEEN WORLDS* by melissa caruso - really clever and original fantasy about a woman on maternity leave who gets dragged into saving a cocktail party which is falling through increasingly murderous and bizarre dimensions. LISTEN, JUST GO WITH IT. it's a seriously cool adventure.

YOU SHOULD BE SO LUCKY* by cat sebastian - yes, it's another m/m romance about queer history in the mid 20th century, this one between a baseball player and the journalist assigned to write a story about his slump. made me care about baseball. cat is a genius.

*I read these as ARCs, they're not available yet but consider preordering or keep your eye out for them!

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[about-faces]

Batman: Caped Crusader, Episodes 1-2 thoughts (SPOILERS)

First things first, Harvey is as bad as I’d expected. I honestly can’t tell whether this is worse than the version we got in the last Timm-produced animated Batman show, “Beware the Batman.” That Harvey was a humorless prick straight out of the William Atherton school of jerkasses, while this one is a smug sleazebag who would be someone you’d love to hate if he weren’t also a complete inversion of a great tragic hero turned villain.

I’m just so sick of people portraying Harvey as a politician first and foremost, performing for the cameras and thinking about his career ambitions. I’m sick of him being a corrupt asshole and even an authoritarian. I’m sick him being two-faced, when the irony of his character is that he himself never WAS. Now that that’s out of my system, I’ll move on, because I know he has an arc in store that may prove more interesting than the usual Asshole Harvey takes.

They tried several things with the Penguin, and I’m not sure they gelled into anything that worked for me this time out. Making her a woman, that’s no problem, and I appreciate her classic style and appearance in a time when everyone just wants to turn Cobblepot into a boring Tony Soprano knockoff.

Ultimately, though, it all just served to make her a standard “Ma Barker” archetype. You know, the alleged matriarchal crime boss who was killed by Hoover’s FBI, who may have dragged her name through the mud to excuse their killing of an old woman? There used to be several takes on her in pop culture, although nowadays the only famous one is probably Ma Beagle from “DuckTales.”

With that in mind, they should have just cast Margo Martindale. Excuse me, didn’t use her full name: Beloved Character Actress Margo Martindale. Minnie Driver is a fantastic actress (I’m still mad that “The Riches” was not only cancelled but totally forgotten), but it was a waste not to let her use her real accent. As it was, she was fine, but she didn’t bring anything special to match the physical design. As an actress, she deserved more to play with.

Also, “Oswalda” is a terrible fake name. Like come on guys, you can do better. That’s on par with Revolver Ocelot’s real Russian name being “Adamska.”

The biggest problem with this take on Penguin is that she’s set up as some kind of brilliant mastermind, only to act incredibly stupid, reckless, and gullible. She kills not one but two innocent goons, including her own son, without so much as an investigation or even keeping tabs on the suspected rats to use them as pawns against Thorne! To paraphrase Dijkstra from the “Witcher” books, you don’t kill spies, you USE them. You feed them misinformation! You blackmail them into being double agents! This Penguin is bad at her job, so no wonder she loses everything within hours. It’s amazing she was able to build a crime empire in the first place!

I also dislike Bullock being a corrupt cop in the mob’s pocket. That fits Flass perfectly, but Bullock? Fuck no. Bullock IS dirty, but he’s dirty in a very acceptable way to cops. He’s brutal, he cuts corners, he’s crass, and he’s probably not above planting or concealing evidence, but selling out to the mob? Hell no. That’s just wrong. Hate that choice. Unless it’s a misdirection. This show sure does love its misdirections from what I’ve seen so far.

Batman himself is… fine. He’s Batman. He’s not a bad Batman. He’s serviceable but unremarkable. But at least he wasn’t an irritating asshole, which is more than I can say for most Batman depictions these days. I liked Bruce trying his “falling off a boat” joke a second time, delivered verbatim after it flopped with Barbara.

Barbara being a defense attorney is a rather contrived choice, one that gets to put her at odds with Harvey while also giving her a professional in with both Batman and Gordon. Essentially, she’s in the role Harvey Dent is supposed to play. Except here she’s a defense attorney, which SHOULD put her at odds with her dad, since lawyers and cops don’t seem to like one another, for SOME reason!

And Harvey, even as District Attorney, can’t be in the role of legal ally to either Gordon, because the story is far more focused on making him a mayoral candidate who throws people under the bus for his own advancement! Feh.

Anyway, that was episode one. It was fine, I guess.

The screenplay is by novelist and DC veteran Greg Rucka, so of course Renee Montoya is the central focus. Seeing her interact with Sleazebag Harvey gave me war flashbacks to what Rucka did with Renee and Harvey in the comics: setting them up with a poignant dynamic of tenuous respect and kindness before dashing it all with “Gotham Central: Half a Life,” which solidified the perception of Harvey as a creepy, obsessive stalker for a generation of fans. That version of them was very much of display here. Sigh.

Also, Lucius Fox is Bruce’s lawyer now? Why? And also, what the hell? God, poor Lucius. He starts off in comics as the guy actually running Wayne Enterprises, then “Batman: The Animated Series” makes him Bruce’s right-hand-man, then Nolan and Goyer get the inspired idea to make him the Q to Bruce’s 007, while the comics don’t know what to do with him and even make him an authoritarian to cause friction with his vigilante son, and now this? It’s such a random choice. There’s no reason why this character should be Lucius. Hell, Lucius could have shown up there WITH the lawyer and that would have been fine. As it is, it’s just weird.

That said! I overall liked this episode an awful lot! For DECADES now, I’ve wanted to see someone remember that Basil Karlo was an older actor in the classic horror movie vein (his name is literally a combination of Basil Rathbone and Boris Karloff), but ever since “Batman: The Animated Series,” everyone has just tried to make him BTAS’ Matt Hagen. Like, I really liked the “One Bad Day” issue for Clayface, where he gradually killed his way to the top of Hollywood stardom, but even that was still BTAS Hagen, the Serious Actor, not Karlo, the old horror ham actor.

But with this episode, someone finally drew on the old Hollywood horror roots of the character, and they found a way to combine his shape shifting abilities into the mix! I’m so happy!

Of course, this is me, so I still have criticisms. Like, I think it was unnecessary to frame it as a mystery, because that added unnecessary complications. I know the original Clayface story was a whodunnit and you can’t do that now that everyone knows that Karlo is Clayface. I was annoyed by the misdirection of Karlo’s “death,” in part because I feared this would be another Clever Subversion, just like how the animated adaptations of “Gotham By Gaslight,” “Hush,” and “The Long Halloween” purposely went against expectations from the source material in stupid ways. Hell, they’re doing the same thing now with Penguin (“But wait, there’s a twist: she’s a woman!”) and Harvey (“But wait, there’s a twist: he’s an asshole!”), so I was afraid this Clayface would end up being someone else entirely. I was okay with it in the end, but I’m annoyed at the cheap fakeout as a plot point.

Furthermore, I don’t get why Basil disguised himself as the doctor (whose name I don’t remember) for the benefit of the actress (whose name I don’t remember) he had chained up in his hideout. What benefit was there in making her think he was the doctor? She was already aware she was a prisoner and was scared, so why the facade? It served no purpose in context, only just to misdirect the viewers.

This is what happens when you try to make something a mystery when it would work better as a thriller. Stop trying to wow audiences with twists and surprises when you could just be focusing on telling a good story. So what if everyone figures out Karlo is Clayface? Who cares! Just go with it! Let them be in on it while Batman and Montoya figure it out themselves, that’s where the tension lies! Stop trying to be clever.

Regardless, I really liked this episode. I want this to now be the canon comics origin for Basil Karlo’s Clayface. Just explain that the treatments for his face gradually affected his whole body, and boom, you’ve successfully explained how classic Slasher Clayface became Mud Monster Clayface. This is how Karlo should always be written from now on. If you really want a sensitive, angsty lug Clayface, bring back Hagen. Let Karlo be the gloriously hammy monster with aspirations of stardom.

[epickiya722]

It's hard to believe that people actually dislike Izuku for "What he stands for" or the fact he's a flawed character when for years, years now people will hate on him for less.

This is the same fandom I have seen some people say Aoyama, a child who didn't actually have a choice, got off "too light".

Same fandom where some people will call Horikoshi a misogynist and then turn around and reduce the female characters to nothing but love interests and future wives. Some of you still only see Ochako as a girl with a crush. Some of you like to bash on Miruko's uniform and people only being horny for her and yet still won't say anything about the male character's costumes and are also horny for those characters yourselves.

Same fandom, now, that will ignore a character's development and that character has admit to being an ass and still be like "He didn't develop at all" and even worse? That character is a child. A child who never even is awarded for his behavior. In fact, often times is punished by the narrative in some way. And yes, I am talking about Katsuki.

Same fandom where some people will attack others over ships. And with shipping, that's the only time some of you will "care" about these characters. Izuku is the main victim of that!!

Same fandom who will be like "fanon is better" when fanon is actually worse.

Same fandom who at a time actually hated the villains, still do and even going as far as to making fun of some of their appearances (like Shigaraki and Dabi)... and really only started to "care" when they "showed out" during the Villain Arc. And by "care" I mean, only finding Shigaraki and Dabi hot as hell and still don't understand their characters. And even if you get why the villains do what they do, some of you still won't acknowledge they're in the wrong, too.

What about the minor villains who just want to cause havoc? For all we know, some of them may come from good homes and just want to be menaces to society. The heroes aren't completely good people either, but don't act as if it's every single one of them who do it for fame (Rock Lock is an example of a hero doesn't actually sees being a hero as a JOB) and every villain has some "excuse" because they don't.

In the case of Izuku Midoriya, some of you will say that Vigilante Deku was the best version of him. No. No, it's not. It was the worst version of himself.

It's not because he was a vigilante. It was because he wasn't taking care of himself. In what way is that the best version of anybody? Neglecting your health?

BNHA: Vigilantes is a perfect story that shows vigilantes not neglecting themselves and still doing what they needed to do to save people.

Often times when I do cross Vigilante Deku fanworks, it's like a totally other character.

My grievance with people "criticizing" Izuku isn't because of what he stands for. Their attitude will come off like he shouldn't have flaws.

Yes, he is a teenager who can only do so much and even as he gets older he can only still do so much because he is still just one person. But he can learn. He still has a long way to go even after however the story ends. Is he not suppose to learn or what?

Question: If Toga dies, will you hate Uraraka? If Spinner dies, how about the other characters? Will you hate them?

Kurogiri is gone but I don't see people hating Aizawa and Yamada.

"But it wasn't their fault! They were trying!"

And Izuku wasn't? Was it Izuku's fault that Shigaraki turned out the way he did?

Izuku wasn't the problem. He tries to be the solution and yes, sometimes it's a flawed solution.

But he shouldn't be the only character the fandom chooses to criticize and hate on for his flaws.

"But he's the main character!" Played out excuse. Played out, it's ridiculous. You're telling me that you're choosing to hate Izuku because he's a flawed main character?

Bullshit. So a character's position in a story is why you're choosing to hate him?

Even though other main characters before and after him have are loved and practically fucking worshipped and yet will have just as much flaws or even more?!

There are folks who love a character despite being gross as hell and they're not the main character. So that "main character hate" is bullshit.

For me, I will hate or love a character not because of their position in story but because of how they are as a character. Sometimes, it just so happens they are the main character. Sometimes, they're not.

Of course, their role can play a part as to how they're written.

Honestly, again, it's hard for me to believe people are "criticizing" Izuku for what he "stands for" when this fandom has shown me countless times the amount of bullshit it will pull. This fandom? Really? Same fandom who will adore other characters for less? Hate characters for less? Who come up with cold ass takes that do not make sense?

What? Exactly what kind of character Izuku Midoriya is meant to be? I'm curious, I really am! (No, no, I'm not.)

Because what it seems to me that even if Izuku was "perfect", the fandom will hate him no matter what.

"BNHA is cop propaganda!" Really? Because the police force here seems pretty "useless" to me. (A lot of the work is done by the heroes.) Sometimes, I forget they even exist until I see like Sansa or another police officer. (Actually, I be forgetting Sansa is a cop.) They're not even the main focus. Maybe it's just me, but BNHA comes off as a story that shows the ongoing cycle of what a previous generation's actions will do to shape the next generation and what that next generation may do to change. It's just that it's being told through heroes and villains and in between.

[badass-queer-couples-battle]

Sword gays showdown, round 1, bracket two

Propaganda:

For Kiku:

She is almost 10 feet/3 meters tall and is a gorgeous trans woman and samurai, who is very loyal to her allies. She gets recognized as strong by the main character multiple times and proves it by being one of the most resilient badasses in the entire series. Helps break said main character out of the enemy's prison and takes part in a rebellion against the corrupt prison staff. She stands up to a tyrant who enslaved her country, said tyrant can also turn into a giant dragon. When the highest ranked sumo in the area is abusing class privilege and harassing both the townsfolks and her, she cuts his top knot off in public, effectively ending his career. Then after cutting the sumo's not knot, she uses her great acting skills to win the crowd to her side by playing the innocent maiden and being all "oh, no, what have I done?" (She knew exactly what she did >:) After her country is free, she also gets to enjoy being girly and mellow once everyone is able to relax, and everyone respects that side of her too. All of this at just 22 years of age, what a cool lady

She's a samurai who's great with a sword and she's also trans.

She is cannonically trans and is a very cool swordswoman!

Trans samurai!! Kenshi is gender neutral, but this is a swordsWOMAN

One of the most powerful samurai in her country, also a trans icon.

She’s canonically trans and awesome and pretty and she’s so tall! 🏳️‍⚧️

For Luo Binghe:

This boy not just studied the blade, he learned the blade FROM HIS CRUSH. And not only that but he actually has tons of symbolism around BOTH of the swords he wields over the course of the novel. His childhood sword gets broken when he's about to be thrown into his corruption arc, but the pieces are carefully preserved by his crush, and later he rebuilds the sword in question. Once he is fully freed from corrupting influence of his other sword, he uses this one again! It represents his inner goodness that gets broken, but is never really gone. The other is a cursed sword representing toxic masculinity that corrupts his mind and pushes him to harm himself and others. It gets destroyed in the end thru the power of gay love!

His sword is first broken symbolizing his trauma and loss of innocence when he is kicked into hell. Then his other sword, Xin Mo, which he finds in hell, represents toxic masculinity and he breaks it at the climax of the novel. It can also dimension travel and is evil.

Binghe has two different songs in this book and a complicated relationship with both of them. First there is Zhen Yang which breaks at a dramatic moment and is mourned over by his teacher/love interest "like a grieving widow". And then there's Xin Mo! His "golden finger". The most ridiculously overpowered sword in the world, it can even cut rifts in the fabric of the world. It also runs on sex and violence and drives him to madness which can only be cured by the aforementioned love interest sacrificing himself... or by sex!

[the-owl-tree]

reading the star excerpt (link here)

i quite like the prologue. i like curlfeather taunting splashtail, i like his insecurity being exacerbated. i think it actually hammers in how young and out of his depth he is

which....sucks the rest of the books portray him as this manipulative mastermind. he's much more fun of a villain when you can see him scrambling for power (and losing it)

which makes the whole riverclan as poor victims kind of suck. icewing rightfully calls out her clanmates for being cowards for uh- *checks notes* using mothwing as target practice?? sorry we're going over the top evil i see. anyways, my point is....yeah, riverclan IS complicit in this, they DO have a choice to say no. splashtail doesn't even have enforcers like brokenstar and tigerstar did, it's literally just one guy - heck the warriors themselves are the enforcers.

fear becomes a limp excuse at this point. you guys gotta unionize or something.

i think the book is really struggling to make splashtail's NO MISS OHKO X9999 ULTRAKILL ATTACK an actual credible attack. look i get it they think he has nine lives, but the three of them could take on a teen i believe it.

i think because this arc won't acknowledge that riverclan is complicit in letting this fester, that they wanted this kind of leadership, it makes him fall flat. how much scarier would it be, more gray it would be, difficult, and so and so on if the clan rallied behind their leader because of the prior events? i get it, they're playing into the fear angle, but there NEEDS to be some more willing participants or this doesn't work.

the closest we get is this exchange but like. guys. the gathering exchange was stupid as hell.

also, you'd think every brit was the worst dog owner in the world LMAO these boys are screaming and straining on their leash while the owners chatting away. every dog in brit is some cat mauling beast i guess.

i was so ready for repetitive "why should we do X??" let's fight about it for the next few pages that it was a fucking relief that cloverfoot was just "yep bring them in!". fucking uh flashbacks from bramblestar's leadership lmao

the phrasing on this made me snick. "behaved so badly" makes it sound like she was kind of unruly, not plotted to overthrow her leader lmao

i dont wanna nitpick, i am actually enjoying that the plot is moving and that things are happening but like....minor waste of a shadowclan pov. you'd think with how often they like to make references to past events, sunbeam being a shadowclan cat could absolutely come in handy in this situation (considering they once had nightheart explain shadowclan history to a shadowclan cat) but when she wonders if riverclan can ever repair itself, it really doesn't come up. idk, i guess i think she could've had a more optimistic perspective but ultimately it really isn't the biggest of deals.

uh oh guys something ELSE happened?? wanna know what happens??? well go buy IVYPOOL'S HEART ONLY FOR 25.99 AVAILABLE NOW AT RETAIL OUTLETS CLOSEST TO YOU. BUY NOW BUY NOW BUY NOW BUY NOW. DON'T YOU WANNA KNOW WHERE ICEWING IS GOING???? OOOH BUY OUR BOOKS!

Oooh the Gathering trap is actually good, ignoring how a lot of them get thrown the idiot ball a little bit to make it work. I figured it out quickly (even though this arc loves having shit happen offscreen), it's nice to see some trickery for once! only real drawback is the books once again going "what did splashstar do to riverclan??" as if he's mind controlling them. I'm gonna actually hold out on hope that this is a set up to Frostpaw realizing her Clanmates haven't been mind controlled or whatever, they're doing this because they want to, because splashstar's ideals appeal to them after everything.

it probably won't happen but i wanna hold out hope.

tentatively interested! preparing for status quo disappointment!

[hestzhyen]

Chapter 52 Hype Posting

Hi void. I am going to vibrate out of my seat. Oh I'm going feral, absolutely feral. Another WSJ cover and lead colour page next week already! Promotion on TV during prime-time in Japan! The insanely good volume 4 PV! Hokazono-sensei judging for a manga award! Kagurabachi's getting the push to be the Next Big Thing at last- you love to see it.

Kind of.

I want Hokazono-sensei to get all the recognition he deserves, but I also don't want the fandom to explode and become yet another annoying dudebro space. The success of the series is more important though, so I'm happy to see Kagurabachi get so much support. Everyone needs to know about this manga! ANYWAY.

LOOK AT THIS TROLL.

It's Chihiro's turn to have a creepy parasocial admirer now.

Hiruhiko's not doing this just for kicks, however- he deliberately (and successfully) triggered Chihiro to orchestrate his dramatic fall. Given what happened at the end of this chapter, I would not be surprised if Chihiro's literal descent is foreshadowing a metaphorical one of some kind down the line.

And this just breaks my heart:

Triggers Chihiro's rage then fucks off only to do this? I will not be mourning Hiruhiko's death.

Chihiro's not built for being a murder bot and it pains him so much to be seen as equivalent to someone like Hiruhiko. But he was taught to see things through and uses his hatred for the Hishaku to keep going. Revenge is probably the only thing he wakes up every day for- he wasn't kidding about that "fresh hatred" line in chapter 1. And neither was Shiba when he said living like this would break him. This kid needs a hug and a safe place to cry out the pain so badly, man...

More than that, though... more than anything...

HIRUHIKO'S THE FUCKIN' ANTI-HAKURI.

"We're equals", he says. "I killed my family", he mentions. "Let's be friends," he asks as he forces his way into Chihiro's life. "I'm the only one who can understand you." The hell you aren't you rat bastard. Hakuri's the one whose soul resonates with Chihiro's. He's the one Chihiro acknowledged as an equal and a friend. BEGONE, FOUL DEMON.

God damn it. Hokazono, I love you for making my most hated villain archetype into a character I want to see more of. I've never understood why playful psychopaths are so beloved but I get it with this guy. Smooth move making him the evil version of my favourite character in all of fiction, Mr. Author. Now I need Hiruhiko and Hakuri to face off over their ideals about who Chihiro really is. It would be the perfect reprise to the Sojo arc! PLEEEEEEASE. There's so much HakuHiro potential in this setup... Hakuri being the one to pull Chihiro forward again would be amazing. But not for his own goals this time- just to help Chihiro as a true friend and partner. Not gonna get too attached to this since it's just one potential development out of many... I won't let myself... (too late).

(Psst... 昼チ or 昼チヒ will probably be the JP ship tag/name for Hiruhiko/Chihiro. Ain't no way Chihiro is the top in this pair for most Japanese fujin lol.)

The Show

The main character of the play's name is Sasuke and Hokazono-sensei is a huge Naruto fan. So much so that he's taken his own spin on Naruto and Sasuke three times now (Enten, Roku no Meiyaku, Kagurabachi). Chihiro is, in fact, his OC donut steel character inspired by the most annoying emo ninja boy ever. I see you, Hokazono-sensei.

The Battle of Soshima might be a made-up title to reference the real historical event The Battle of Tsushima, which fellow Golden Kamuy fans will recognize. At any rate, there aren't any famous Japanese stage plays with the same name, so there's no direct narrative parallels to draw insight from (sad trombone noises). Fortunately for us Hiruhiko is a yapper like I hoped and tells us the plan pretty plainly anyway:

I relate so hard right now, random audience guy.

Hiruhiko says the plan to kill Chihiro's not a bluff. But he's not acting like he's intends to make good on that statement. So that means...

Perception vs Intent

Chihiro looking his best: stressed and menacing

This is gonna be huge I think. Remember what Azami said back in the Sojo arc in ch. 9:

Azami, please come back soon. I need you carnally.

Then consider likes like this...

Local violent gang member still pretty tough after becoming human shishkebab through a moving train.

Chihiro could be set up to tarnish his father's legacy.

The public doesn't know the true strength or capabilities of the weapons that won the war- they just know that Rokuhira Kunishige made them and they were the key to winning. So Chihiro dropping in on a stage play to splatter the audience with a headless corpse's blood is not a great first impression. He looks downright villainous in this scene. Awesome, but villainous.

The Hishaku are going to metaphorically "kill" Chihiro somehow. For some reason, tormenting this poor guy is absolutely vital to John's plans... it's probably more along the lines of Chihiro being a useful pawn to move around to create conflict they can exploit, but still. They're going to try to break his spirit this arc for sure. Leave Chihiro alone! He's been through enough!

I've got a hell of a lot to say about this but I need some key details from the next few chapters before going off on lunatic tangents. Fuckin' hell though, this is great. This is exactly the type of development I was hoping we'd see after Samura's chapter. Chihiro's committed to the cause of killing the Hishaku, who so far have been wholly unsympathetic villains. But killing is a wrongful act. And this chapter sets up that Chihiro might not be the sympathetic avenging swordsman we love him as in the eyes of the public- he appears to be more of a menace like some of the members of the Kamunabi accused him of. He might be challenged on his murderous modus operandi via a Hishaku-backed smear campaign. Seriously, using Chihiro's brutality against them to ruin his father's legacy would be so evil and cruel. I love it.

We'll be able to count on Shiba and Hakuri to make sure Chihiro doesn't go off the deep end at least. I wouldn't be surprised if Hiyuki played a pivotal role in helping Chihiro out this arc too, but I don't want to commit when we've hardly seen anything of her so far (my spaghetti sovereign... please come back to the main story full-time soon).

Whether or not I'm right (I'm not, I never am), Chihiro's murder sprees fueled by Fresh Hatred are going to get looked at in a critical way. High time and I am definitely here for it. Tell me what you've got to say about violent revenge motivated by grief, Hokazono-sensei. You have more space to examine the topic now compared to Farewell! Cherry Boy.

Shorter than usual but that's not a bad thing. I can always come back and edit this (came back to do so twice now already) or make another addendum post, but...

... Just choose kindness, people. For yourself and others. See you later.

[hrizantemy]

Day 13 of ACOTAR Games: This or That

Which Vanserra brother deserves their last word with the Inner Circle the most?

Eris: For villainising him for five centuries, exploiting him as he risks his life for intel on Beron, torturing his soldiers, promising a marriage alliance and breaking it off (My personal favourite, Cassian calling him a coward after finding out he is being abused by Beron)

Lucien: For Feyre sexually assaulting him, defaming him across courts, framing him a traitor in his home. For Night exploiting him, baiting him with his mate, overexerting him

Your contenders: @achaotichuman @litnerdwrites @positivelyruined @yaralulu @umthisistheonlyusernamenottaken

It’s Lucien. Hands down. My man deserves his villain arc, and I’m ready to see him burn the Night Court to the ground while cackling in six different languages. Let’s break it down, shall we?

Eris: Sure, the Inner Circle has been villainizing him for centuries while simultaneously using him to deal with Beron. And yeah, torturing his soldiers and dangling a fake marriage alliance in front of him was a real classy move. But nothing—and I mean nothing—beats Cassian calling Eris a coward after finding out his own father has been abusing him. Like, is there a gold medal for worst timing? Because Cassian’s taking it home.

But while Eris is over here risking his life and reputation for everyone else’s benefit, at least he’s getting to play the sneaky morally grey bad boy that everyone kind of respects. He’s got a throne to inherit and an entire Court to manipulate. He’s doing fine.

Lucien, though? Oh, Lucien’s been through hell, and for what? Nothing but disrespect. Feyre sexually assaulted him (don’t tell me using him multiple times for revenge isn’t assault—it is), framed him as a traitor in the Spring Court, and dragged him through her mate drama like a chew toy for everyone else’s entertainment. Then Night Court swoops in, promises him safety, and proceeds to exploit him like he’s an unpaid intern.

They dangle Elain in front of him—like bait on a string—only to snatch her away when he starts getting too hopeful. “Oh, you want love and respect? Nah, let’s put you through 800 pages of suffering instead.” Then they have him running errands all over Prythian and beyond. Did they ever ask, “Hey Lucien, do you want to chase after Feyre’s drama like a third wheel on fire?” No. He’s exhausted, he’s underappreciated, and he deserves better.

So yeah, give my man his villain arc. Let Lucien snap. Let him finally turn to Beron and say, “You’re trash, but at least you’re honest about it.” Let him wreck Velaris with that fire in his eye, literally and metaphorically. Let him start drinking expensive wine while wearing black robes and plotting his revenge like he’s auditioning for Game of Thrones.

And while we’re at it, let’s have a scene where he burns Feyre’s art studio to the ground, takes Tamlin by the scruff, and tells him to grow a spine already. Give him an epic speech where he rips the Inner Circle to shreds, points out all their hypocrisy, and then mic-drops his way out of the room.

Lucien’s done the time. Now it’s time for him to do the crime.

I know I haven’t been super active lately, so here’s another random fact about me: I’m a college student majoring in psychology. And let me tell you, this field is not for the weak. Like, I love it—truly, I do—but sometimes I want to bash my head into a wall just for the thrill of it. Freudian theory? Intriguing but unhinged. Statistical analysis? Who let math sneak in here? Clinical hours? Amazing, but also, how am I supposed to save lives when I’m running on caffeine and spite?

But you know what? Slay. I’m getting through it. One meltdown at a time.

[crooked-wasteland]

I just saw your essay on the codependency of FizzOzzie and it cleared up a lot of things I've been thinking about this ship and to be honest, I myself thought it was the most healthiest ship in the whole show even better than the trash that Stoliz is but well... (btw, I was trying to scroll through tumblr to find it but can you just link it for me so I coud read it again)?

It also brings me to an idea of the possibility brung up in two fics each with different ideas:

#1 if Hazbin's events every leak in Helluva's since they're the same universe, there's a possibility that Lucifer would want to have precautionary heirs for the defense of Hell and outright force Ozzie and any other relationships with lowerclass apart since it's "not compatible with angelic DNA" or some thing, so Ozzie could in fact leave Fizz because of his status

#2 Ozzie getting tired of Fizz... Ozzie is the sin of Lust after all and Lust can be ever-changing and capricious in its nature as a sin. Ozzie’s character, embodying Lust, might lead to a fluctuating commitment level, influencing his interactions and relationships. In biblical lore, he did end up causing a lot of sinful things like fucking a human named Sarah or so I remember?

Again this is the same guy who humiliated Blitzø in Ozzie, S2 just rewrote him completely (btw, in my rewrite I'mma change him to be more evil and instead give the whole "lovey-dovey Sin" idea to Satan who is female and thinks Asmodeu's "fake-love" is like a slap in the fact to her idea of realistic and true romance)

I'd just feel like Fizz would be better off with Blitzø tbh or Striker or all in a threesome... the possibilities are endless, and why is the show making love seem too fairytale and unrealistic?! Like Blitzø shouldn't have to fuck Stolas just because he was his arranged playmate for just one day??? The show did the childhood friends trope dirty and would be better if Stoliz was a thing until mid-teens broke up for [insert reason] and reconnect but honestly, Stolas should've had his own seperate season/arc dedicared to himself if HB was an anthology show

Also the fact that Asmodeus couldn't just burn the contract, one-shot the lawyer and go on a rampage to save Fizz is just beyond me... the Sins are supposed to be these scary demon lords so why aren't they, hm?

Sorry for rambling and what do you think or want to add?

Absolutely here you go.

The consistent failure of Vivziepop is to commit to a mature story. She describes her own protagonists as "Deeply flawed but understandably traumatized people who just need love to fix them" while the villains of her shows are "irredeemable" (and women, but that's a tangent).

I mentioned before that trying to use the excuse of the setting being Hell and playing that out to the logical conclusion would end up exactly like Good Omens. The whole moral of said show being that imperfect humanity is worth saving, that life is worthy and beautiful for its own sake of existence. That is why the story of Good Omens uses the Bible, angels, and demons to tell it's story, to make that point.

Why is Helluva Boss/Hazbin Hotel set in Hell? What is being said by the plot, themes and story? So far we have that demons are better people than the Angels in Hazbin. That sacrifice is the only virtue worthy of redemption and thus reinforces backwards Christian ideals of penance.

Personally, I would have made Hell less absurd. Less a place of debauchery and chaos and more a mere continuation of life. We see in the Hazbin Pilot a character falls from the sky and says "I'm alive?" Before being hot by Travis' car. The point being that people just transition from one life to the next and in that they keep living life the way they always have.

My personal criticisms of the series' use of Hell is that it established this idea that people only behave if they have a god to fear. Once in Hell, there is no salvation, so why bother. It's like a Christian asking an atheist why they wouldn't commit murder if they don't believe in God. The answer is that people like order and security. People dying would seek to maintain their status quo from life. A lack of salvation wouldn't change that for them.

And frankly, I wouldn't have redemption be a thing. This story and its messages are actively devalued by the act of redeeming sinners when the Angels are just the same as them. By having Hell just be a warped continuation of life on Earth, it makes the message more universal: Life is Hell. Life is suffering in a way Hell can never hope to be. Physical anguish and torment for all eternity can never amount to the pain of the fleeting and the terror of change and uncertainty.

I would have made it impossible to be redeemed because the fact is, regardless what you believe happens after death, what we know we have is life. We fear death so much we have created salvation throughout history, the wish to keep living forever in some way. But, especially for young people, life is harder now than ever before. It's more terrifying and uncertain and cruel and uncaring.

So if life is Hell, how do you be happy?

That would have been my thesis for the show. The message underneath is all about finding happiness in the absence of salvation. Even the idea that maybe salvation is something we should reject to really feel what it means to be alive. Giving up on our deaths and seeking our own fulfillment, and in that finding community, love, and hope. To see true humanity as something selfish and kind at the same time.

That's how I would have taken the concept.

[theinternetarchivist]

Was spit balling ideas with my friend about a villain Bakugo au, this is what I’ve got. It’s all formatted as notes though, just thought I wanted to share lol

Taken as a child by AFO right after manifesting his quirk

AFO leaves Izuku behind because he thinks of him as useless

Izuku puts a lot a more effort into being a hero from a child in order to save Bakugo because he know he’s not dead

Bakugo writes little notes to Deku that never actually get to him

Because being raised by AFO he is technically a villain, having been manipulated into being such.

He’d annoy Shigaraki so bad, Kurogiri has to stop them from fighting

He doesn’t see AFO as a villain, he thinks he’s doing the right thing so he wants to protect Deku by bringing him over to the villains

Deku is his only good memory before he was taken

He infiltrates U.A. and Deku’s like WTF

Bakugo would pretend to not remember him to not blow his cover

He goes under a different name, Kudo, AFO gave it to him out of spite

Bakugo has a sort of quirk given to him by AFO that enhances his explosion

He’s using Bakugo in a way to torture Deku

Scene idea: When first seeing him, Deku whispered under his breath ‘Kacchan?’. Bakugo side eyes him before returning to taunting Iida.

Bakugo knows about the USJ attack but plays a less important role than in the show lines. He tries to set up All Might’s defeat, he purposely doesn’t go after the Nomu

During the sports festival there’s a short cutscene to Bakugo’s parents watching knowing that he wanted to go to UA and that this would have been his first year, and they see him and are like ???

Bakugo’s still extra as hell, villain name: Lord Explosion Murder God Dynamite

Kidnapping arc would be interesting because they’d target Izuku

He wants to see Izuku smile, he’s confused though when he sees Izuku’s face of absolute betrayal and it’s kinda devastating to him. It sorta puts things into perspective

During this arc to keep appearances they kidnap Bakugo and Deku, but at the lair they reveal Bakugo

At the end he’s revealed to U.A. as the traitor. He leaves U.A. because he can’t go back cause his cover is blown, but this does plant a seed of doubt in him about AFO

Bakugo helps save Izuku, the LOV sort of know that he did but can’t be sure, same with UA. Izuku meanwhile does know for certain, which makes him believe that Bakugo can be saved.

Shinso joins 1-A question mark????

This is when AFO switches to using Aoyama as a spy

At this point, Izuku is having a breakdown 🎶.

FULL OUTFIT CHANGE WOOOO

Dorms are implemented

UA’s being shady, saying that Bakugo left of his own accords

After this, Aoyama is revealed as a back up which places another seed of doubt in his mind, he’s sorta realizing that AFO isn’t that trustworthy

During the Overhaul arc, he’s hearing reports about Eri and whatnot, doesn’t like it and gets more doubts seeing similarities.

He’s helping the league full time at this point (in a way). He and Dabi don’t get along.

He and Toga match each other’s freak in a way, but they do fight over Deku. She explains the whole provisional license thing, he explicitly asks about Deku not really understanding why. He also has a short thought of “maybe I’ll take it next year.”

Toga wouldn’t really care at all that he asked about Deku

Meanwhile Deku puts all focus into the Overhaul arc. There’s a small meetup, Bakugo tries to apologize HUG PERCHANCE, Deku tries to convince him to come back that they can make everything right, but Bakugo refuses and leaves. Bakugo isn’t very angry during this.

Izuku sort of seeks out the second the user.

Kudo sort of pays attention more when realizing about Bakugo

Best Jeanist was a good mentor we love Best Jeanist

Oh and also take this, it’s for an art class project

[strangestcase]

For the people that are going to do Dracula Daily this year:

One of the subplots that Dracula covers, and arguably the most important subplot, is one centered around a psychiatric patient confined to an asylum- it touches upon the way he sees the world, his relationship with his doctor, and how he relates to and perceives the villain VS the heroes, since for most of the plot he believes the villain to be good and strives to serve him.

Both the patient and the doctor characters (who are part of the main cast and very important to moving the plot foward in their own ways!) are portrayed as sympathetic victims to the main villain and mostly on the side of good, but in different ways, and, of course, the way they are written is informed by the beliefs of the time.

I won't spoil anything too important about it, just warn you that this subplot depicts Victorian Era ableism, which is... pretty extreme, and forms of medical abuse (specifically, psychiatric abuse) that still exist today!

This plotline involves:

-depictions of hallucinations, delusions, and irrational thinking

-medical malpractice: delusions being encouraged, patients being dehumanized, prolonged use of dangerous restraints

-unsanitary behavior (eating live animals)

-ableist attitudes from most of the hero characters

(other Dracula fans pls tell me if I've missed something)

What do I make of this? you ask. Well...

Do not excuse medical abuse, even if it's fictional. The doctor character is, for all his medical malpractice, depicted as a complex person that has some likeable traits and he undergoes a pretty sad arc relating to loss and trauma, like most of the heroes of this novel. This doesn't make him any less of an abuser, nor makes his patient any less of a victim!

Refrain from using ableist language or rethoric. The patient character, being written for a very old horror book, is often depicted as "unsettling" and his strange behavior is sometimes played for horror. This 1) doesn't make his situation any less deplorable 2) doesn't make him any less sympethetic and most importantly 3) doesnt give you a free pass to treat him as a scary horror monster. He's a victim of both the real monster of this story and the system he lives in.

Listen to psychotic fans. Research the history of Victorian asylums. Understand the historical context. Look at this subplot from a holistic perspective instead of treating it as a horror story within a horror story (although, it is a horror story, but not for the reasons some think it is!). Just don't be a dick to disabled people.

If any part of this subplot triggers or squicks you, you are not obligated to read it, just be aware that it exists and that it is important to avoid perpetuating ableist stereotypes, be they present in the original text or not. (Hell, you are not obligated to read any part of the book if you don't want to do so. Dracula Daily is supposed to be fun. Analyzing literature is supposed to be fun. Enjoying literature is supposed to be fun!)

For the love of God, don't get angry if some fans dislike the doctor character for what he's done and take the patients' side. This was an issue during the last Dracula Daily run. He's literally the victim in this relationship. I'm not saying you can't like or dislike either character but I have to reiterate: do not erase either character's contribution to the plot, do not demonize the patient character for being mentally ill in an "ugly" way and beliveing the villain is good, and don't woobiefy the doctor character because he said a funny thing once. Both are complex adult human beings so don't expect them to be caricatures.

Do not be afraid to call out ableist behavior from other fans, but also be careful to not overstep or talk over disabled fans, especially psychotic fans.

During the Dracula Daily run, some blogs will warn about the entries in which this subplot takes place, and what triggers apply for each one of them. If you need those warnings, don't be afraid to reach out for them!

Happy reading!

[mantequillamcwhoremick]

Hi! I ended up reading through Choas Plan in pretty much two days (your writing is actually phenomenal) but I was actually curious on your inspirations to write it? Did it come from any other particular works or maybe episodes from sp?

WHAT NO WAY😭😭😭😭😭😭WHAT THE HELL THAT'S SO NICE HOLY SHIT THANK YOU SO MUCH <33333

You can't just ask me shit like that dude I will respond with a huge fucking essay I LOVE questions like that!!!!

I honestly have several inspirations, many come from the show itself and some I've drawn from cyber crime documentaries and books I like (namely the Six of Crows duology by Leigh Bardugo, you might recognize the scene with Mysterion and Harris in chapter 3 is very VERY similar to the one between Kaz and Jan Van Eck at the beginning of the book), but if you've read the notes in the fic you might have seen that the story idea was initially born when I was playing TFBW.

The Idea

The U-Stor-It scene where Butters/Chaos locks the C**n and Friends in the facility and talks to them through a screen was just so fascinating to me, it reminded me a lot of Jinx from Arcane and the Joker in The Dark Knight (especially because of the flashy decorations and graffiti). Mainly the story evolved from the question I posed to myself in that moment, which was: "What needs to happen for Butters to become someone like Jinx?" and that's how I started brainstorming the backstory.

The Backstory

Obviously that was inspired mainly by Linda's behavior in Butters' Very Own Episode, but it features elements from stuff all over the series and the games that prove just how fucked up Butters' parents are and treat him.

(Remember when in TFBW he mentioned that they bought an electronic lock system to keep him in his room because he left the bathroom once while grounded? yeah, that convinced me Butters' home life probably would only get worse with the years, especially with him entering his teens & puberty, and Post Covid honestly just confirmed that.)

The Villain/Hero Concept

I hadn't yet watched much more of South Park than up until seasons 15/16 so I didn't know about Post Covid's Vic Chaos yet, I mostly just wanted to do something with Mysterion and Chaos that had a darker and serious tone without either of them having any Marvel-esque powers or tech-organizations aiding them, something closer to the South Park lore at hand and realistic enough to feel like it could happen in our world.

Chaos' Methods

With Butters having a knack for Internet-related shit and him being able to hack into a baseball stadium screen to broadcast his evil plans in the Professor Chaos episode, and ofc his whole thing in TFBW and the episode of him becoming a pimp, I figured he has the stuff to be a hacker and entrepreneur.

I started getting spoilered a lot on the whole Vic Chaos and NFT scammer thing so even though I hadn't watched Post Covid I drew a lot of inspiration from that as well. I've been watching a lot of documentaries on Cryptocurrency scams and other cyber crime related stuff, so yeah all that shit also gets my brain generating a bunch of ideas as well.

Mysterion

As for Kenny/Mysterion's side of the story- I'm a huge fan of the "criminal who gets paid by a shitty pig/capitalist who would normally never hire them to take on a job" concept in Six of Crows, so that's how I got Harris involved, later further fueled by his Thin White Line arc in TFBW.

The way Kenny used his death powers in the C**n & Friends episodes I found very intriguing, and I absolutely LOVE playing around with them, so I included my own interpretation & spin of it as an active "superpower" he uses in order to be successful enough as a vigilante to be taken seriously. His canon powers separate him from your average humanbeing. It's a way to show the audience "hey look, Kenny really is just some guy, but also no one else could take on this role, ever. He may not have super strength or speed or money for equipment backing him, but he can get into places and out like no other person ever."

Coming up with a kryptonite-type weakness was also super fun, because I didn't want things to just be too easy. Mainly it's his need to remain anonymous, but the biggest reason for that need is because he needs to keep up his ability to financially support Karen. That, I obviously got from the show-, namely episodes like Mysterion Rises, The Poor Kid and City Part of Town, but his dynamic with Karen got increasingly more interesting and influenced in the fic after I played the TFBW DLC From Dusk Til Casa Bonita. The fact that he's so obsessed with keeping her safe the best way he knows how but completely overlooks to consider letting her have a say in it, is absolutely delicious. Like fuck yes, let's go complicate these character relationships (rubs hands evilly)

TL;DR

Inspirations come from all over, but of course the main ones do come from the show and games. Kenny and Butters have always been increasingly fascinating characters to me the more I watched the show, so the fact that Kenny canonically is the only kid Butters respects (source: s16, Ep "Going Native"), to an extent that in the future Butters funded his entire career, I thought had a shit ton of potential. Hence their friendship in the fic before "the incident", and the way Butters goes about Kenny now that he's taking over the town >:)))

Thank you SO SO MUCH for the ask!!!! I hope I didn't ramble too much for what you actually wanted to know, but I just absolutely love sharing my inspirations for this fic. Really gets my brain go brrrrr heheheh I'm so so grateful that this interests you <33333