#if anything it makes them more heroic/villainous

[adastra121]

Doran the Doomed Harbinger

I redesigned the travelling mage from my Touchstarved Unnamed MC’s backstory!

Pronouns: He/They Birthday: December 21 Height: 173 cm (5’8) Personality: Troublesome Contrarian Likes: Dancing, poetry, sweets, really bad erotica (the cringier the better), puzzles, animals that tend to disgust or frighten people Dislikes: Coconut, dogs (he has severe cynophobia from their traumatic experience with a hellhound), rules, boredom, tight clothing Fatal flaw: Lacks a sense of self which makes them turn to external influences for direction Other: Enjoys his tea with a startling amount of sugar. So yeah, they drink slightly tea-flavoured sugar every morning. With the occasional splash of milk. Quote: “We are vessels of unimaginable power, made to be forever contained — molded — into whatever the world says we should be…haven’t you ever wished to let go?”

More about them below:

Doran was a magic prodigy, born gifted and powerful and unfortunately for them, that caught the Senobium’s attention.

When Doran was young, he was attacked by a hellhound. He used his magic intending to kill it, but being an untrained magical powerhouse, he ended up absorbing the creature’s heart instead.

Now they’re a walking bomb. A roaring firestorm lives inside of them and they are being burned alive every waking moment. They keep it under wraps with their magic. They’ve become so practised with restraining the hellfire inside of him that it’s become as natural as breathing to them. He does it subconsciously. Unconsciously.

For most of his life, he had trained under the Senobium to be their perfect mage. He did anything they asked of him, even if the tasks they gave him were dangerous or cruel. He took pride in them, even found humour in the cruelty where most others would only find horror. But he understood, even as a child, that the Senobium was in control — although he played the part of their puppet well, if he ever stepped out of line, they would destroy him.

With the hellfire burning inside them and the Senobium’s control, all they’ve ever known is restraint. Eventually, they had enough of the Senobium’s influence over their life and fled Eridia.

For a while, he travelled around the world, searching for a new purpose after leaving the Senobium. He worked as a magic mercenary, providing magical assistance to anyone that paid — sometimes to those who didn’t, if the mood struck.

He tries their hand at being a hero for a while due to being bored. They’ve never felt the automatic urge to be heroic out of the goodness of their heart, but after leaving the Senobium, he didn’t really have much else to do, and they couldn’t find a good reason not to.

His moral code is whatever they find more interesting at the moment.

“I don’t understand. Why would you risk your life for a bunch of strangers?” *shrug* “Why not?”

Also, villain types are genuinely so much more fun to piss off. Because you get the sense that they’ve already passed the point of no return, and once you pass that certain threshold, you lose much of your restraint. And that makes for interesting adversaries and interesting fights.

…You can kind of see how they wound up half-dead when Luneth found them.

Luneth views them as a mess of contradictions. They are as sincere as they are mysterious. As considerate as they are selfish. As kind as they are cruel. Nihilistic as optimistic. With an open heart and innumerable secrets behind their smile. The one thing about them that makes sense? They are lost. And they are wandering the world, searching for their destiny, even as they claim they don’t believe in it.

Doran is a curious spirit. He loves to question everything. Especially if it results in annoying someone.

They enjoy and collect puzzle toys. They especially like the puzzle boxes which you need to solve in order to open. They gifted one of their favourites to Luneth during their time together.

You know the manic pixie dream girl trope? He’s a manic demon nightmare guy — I don’t know how else to describe a character who self-ascribes the role of the inciting incident for someone else’s journey of growth and decides to incite the incident by any means necessary.

They have a soft spot for “creepy” or “scary” animals like bats, rats, snakes, spiders, bugs, and deep-sea marine animals. Barreleye fish, my beloved.

They wandered without purpose for most of their life. They found their purpose in Luneth. He sees themself in her, but more than that, he sees her potential to be greater than him, than her temple, fate, destiny, all of it. They finally understand faith for having known her. 

Zodiac sign is Sagittarius

MBTI type is ENTP

Enneagram is 5w4

Like Luneth, this character was inspired by a song I was listening to. Doran’s is “Arsonist’s Lullaby” by Hozier.

I think another character theme of theirs could be “Dance Monkey” by Tones and I.

And here's their full character redesign!

[mylastmoleculeofserotonin]

Kill the notion that Star Wars needs to step away from force users. I don’t know about you, but I love to see space wizards fight with glowy swords. The only thing that needs to change is the good/evil dichotomy of the Light and Dark sides of the Force. Give us a show about a Padawan who tries her hardest to be a great Jedi so she buries her emotions so deep within herself that she loses herself and becomes complacent with Jedi/Senate corruption and turns to the dark side to reconnect with herself and rediscover what made her want to be a Jedi in the first place. Give us the story about a child who’s sibling is taken by the Jedi so they ally with a Sith to break into the Jedi Temple and rescue their sibling. Give us a movie about a Dark Lady of the Sith and her apprentice defending their home planet from being absorbed into a sector of the Republic where their historical oppressors would hold their seat in the Senate.

All those stories could feature epic clashes between Force Wielders without contributing to the perceived stagnation of Star Wars shows featuring Jedi and Sith.

[inbarfink]

It’s really fascinating to compare the way Agatha handles the Heterodyne Legacy compared to her father and uncle. Because these are the two known generations of ‘Heroic’ Heterodynes after a long, long legacy of the Heterodyne family being known primarily as Evil Bastards - but they have such a totally opposite relationship with that villainous legacy.

Bill and Barry grew up deep inside that Evil Heterodyne Legacy and know all about how truly rotten it really is. Their father was an Old Heterodyne to the bone and an Extremely Reprehensible Human Being. Like, not just Cartoon Evil Overlord stuff - according to the Novels, he forced Bill and Barry’s mom to marry him by threatening her family. And he tried to kill them because they weren’t evil enough to his tastes. 

And when their mom killed him to protect her sons, the Castle killed her in retaliation. The very manifestation of the Heterodyne Legacy has cost them their beloved mother who just saved their life. And all of this in addition to the fact a non-evil Heterodyne was really an unthinkable concept when the Boys started - meaning they had to work extra hard to distance themselves from their family if they wanted anyone outside of Mechanicsburg to trust them.

And Heterodyne Boys worked very very hard to prove to the world that they’re not monsters. Both to fight off against the constant suspicions that they were monsters, and because they most likely wanted as little to do with their father’s legacy as Spark-ly possible. For them the Heterodyne Legacy was mostly kind of a Curse, the thing that tormented their mother and killed her and almost killed them, the thing that makes people wary of them.

And as such, they distanced themselves from anything that’s even remotely to do with that old legacy of monsters, from anything evil or scary or messy or ugly. Much to the chagrin of the Castle, the House of Heterodyne’s many other monsters, the Jager Horde Mechanicsburg’s proud Evil Minion population and many others who felt abandoned by them for the sake of PR.

Then there’s Agatha Heterodyne. And it’s not just that Agatha grew up in a post-Heterodyne-Boys world where the general populace associates the family name less with evil barbarous mad kings and more with good-natured heroism. Where even those who remember the Old Heterodynes are at least willing to give her the benefit of the doubt. Where even those who would like her to be like the Old Heterodynes are at least willing to give her some wiggle room to express herself....

It is all of that, but more importantly Agatha didn’t grow up as a Heterodyne at all.

She grew up as Agatha Clay, with the Spark-Suppressing Locket that dulled her mind and made her a miserable klutzy mess who couldn’t do anything right. She grew up hating the constant feeling of being powerless.

And discovering that she’s a Heterodyne came up… pretty close to realizing she’s a Spark, and both of these revelations gave her a certain kind of Power that she never got to have before. She is now both a powerful Spark and a powerful political player in this grand Europa political chess board. 

And as much as she has the same heroic values and upbringing as the Boys did (courtesy of Barry and the Construct Duo), not growing up so up-close-and-personal with the worst consequences of the Old Heterodyne’s evil means she’s not as immediately repulsed by it like the Boys were. 

She encountered all of these old monstrous pieces of the Heterodyne Legacy - the Jagers, the Castle, Mechanicsburg, even just the fear her name can put into people’s hearts - not as the Evil Legacy Forced Upon Her. But stuff that was taken away from her, and she had to earn back. And in a world stacked so heavily against her, so determined to rob her of her agency and newfound sense of power, these things represent the assertion and security of her power.

For the Heterodyne Boys, the worst thing they could ever imagine being was monsters - like their father and the rest of their family was. For Agatha Heterodyne, the worst thing she could imagine is being powerless again. She would take being seen as a monster a thousand times over being condescended and ignored ever again. 

Being seen as a monster isn’t actually all that bad at all, she discovered. 

All of these things together make Agatha not quite the second generation of Actually Heroic Heterodyne or just another link in the Old Heterodyne Legacy - but another new kind of Heterodyne altogether. One that can both retain a moral code and embrace the family’s monstreness at the same time. 

[utilitycaster]

I feel like the way I think about Ludinus Da'leth is like...the Anti-Vespin. There's the basic actions they performed - both unleashed something long-sealed, but Vespin Chloras intended to destroy what he perceived to be a sealed danger, and Ludinus is using Predathos as a weapon. However, what strikes me is how the two of them have acted so far towards other mortals rather than the existential threats they've tangled with.

I suspect Ludinus is bringing in Bells Hells not because he expects them to join him, but because he really, really wants someone to validate his plan that is ultimately just a monument to his choice to wallow and make Exandria worse for it. No one likes him. He's not Ruidusborn; he can't commune with the Weave Mind and the Reilora the way others can. Liliana is in pretty deep but she's wavering, Zathuda resents him (and it seems to be mutual) and Otohan's dead. The Assembly is crumbling and the Empire's not doing well either, and the world has to an extent united against him.

Vespin chose, in his brief moment of clarity after he had unleashed the Betrayers and lost himself, to do what he could to improve Zerxus's lot, expressed anguish and remorse for his actions and his legacy, and said that he hoped the Ring of Brass would be given more grace by history. He was willing to accept the title of villain, despite being something much more complicated, because in the end he understood that giving the world a chance to survive was far more important than clearing his own name.

Ludinus, on the other hand, is fighting against historical strawmen. His resentment towards the gods is just that: a burning resentment. He could have left his mark by rebuilding post-Divergence Exandria. Instead, his legacy is one of rot, war, hatred, and corruption, from Molaesmyr to the War of Ash and Late to the Bloody Bridge. He could have been an architect of the modern age for the better. He could have tried to revive Aeorian magic and culture, and, as I've discussed, potentially even the people. He instead focused only on a centuries-long goal of destruction out of sheer spite.

Vespin was willing to shoulder any insult, deserved or not, for the rest of eternity because he understood it was less important than doing whatever he could in the few moments he had to mitigate harm. Ludinus is willing to destroy anything to retaliate for an insult.

Ludinus is livid about being robbed of an age he never got to see by the gods; and quite possibly, with the destruction of Molaesmyr, killed some of its last survivors outside exceptions such as himself. He claims to hate the gods' uneven blessings yet his alliance - and reliance - on Ruidusborn sorcerers has always made it clear that was a lie. And none of this will bring back the world he lost, and indeed, may very well set society back further.

He will tear everything apart out of hurt feelings and a desire to be correct when he could have left a shining legacy. It is the opposite of a heroic sacrifice; a petty, small self-destruction. I think he wants Bells Hells to tell him it was worth it. And I don't think they will.

[save-the-villainous-cat]

"It's quite adorable, really." The villain's index finger followed the brim of the glass in lazy circles. They let their gaze wander to the wine and then back at the hero.

And the hero couldn't help but stare. Stare and pray.

Their hands were icy.

"Your invitation, I mean. I didn't know you were interested in going on a date with me," the villain said. Their grin reached from ear to ear and the hero couldn't help but stare at the villain's delicate fingers around the wine glass.

"I wouldn't consider this a date."

"I would. Food's fantastic."

"...it is." The hero stared at their own plate. They had mostly shoved food from one place to another, barely being able to get anything down. It seemed like guilt needed them to starve to make up for their actions.

"You look a little down," the villain said. "Shouldn't we be celebrating? This will probably be the first and last time we are agreeing on something."

There wasn't going to be a first time.

The villain raised a glass and the hero only nodded, mirroring their enemy's action.

"To us," the villain said.

"Uhm...to us, yeah."

"To Gods amongst humans."

"Oh..." The hero didn't repeat that but they put on a fake smile they deemed to be very convincing. "Of course."

Without much further ado, the villain let their glass clink against the hero's. It was quite a pleasant sound.

As so many times this evening, the hero watched their enemy take a sip. They clenched their hands into fists but all their nervousness, their nausea and their anxiety was for nothing - the villain simply smiled and set their glass onto the table.

And the hero continued to sweat. They didn't know why fate was torturing them like this but they hoped, truly hoped it would pay off.

"You look very lovely, if I am allowed to say that."

"You're allowed to say whatever comes to mind," the hero said. The villain raised a lazy brow.

"Is that so?" They took another sip.

And the hero didn't quite understand. They had put enough poison into the villain's drink to kill an elephant.

"Of course. I've always respected you for your honesty."

The villain smiled lovingly.

"I'm afraid I can't say the same thing about you," the villain said. The hero swallowed. They could feel cold sweat run down their back. "You've always been a little liar. No matter how heroic."

"I never...I wouldn't..."

"This wine, for example." The villain raised the glass and the hero was ready to drop dead on the spot. They knew. They knew about it. They were going to kill the hero right here. With everyone else in the restaurant. "You told me this is the best they have but...darling, it's really not that good."

The hero let out a nervous laugh.

"Oh, did I say that? I...I'm not really an expert when it comes to quality. I just...eh, I just drink whatever, honestly. And I liked this one the last time I was here, so I thought you might like it? Maybe?"

"That's very considerate of you." The villain tilted their head as if the hero was an adorable animal they didn't know if they should pet. "But you chose something else to drink?"

"I wanted to try something else. I like, you know, experimenting."

"Oh? Cheers, then."

Once again, they let their glasses bang against each other and before the hero could say anything, their enemy downed the drink.

Had the hero messed up somewhere?

"That reminds me..." the villain said. "Cheers is skål in Swedish. Isn't that funny? That's exactly the same word for bowl."

"Oh, I didn't know that," the hero said. They tried to smile but it was increasingly more difficult not to worry about being cut into pieces right here at the table.

Suddenly, the hero could feel the villain's foot on their bare shin, teasing them as if they were two lovers under the table.

"Do you know why?"

"...no."

"I heard somewhere that vikings used to serve their drinks in bowls," the villain said. They smiled sweetly. "And when their bowl banged against the other's, their drinks would mix. They did that to make sure the other wasn't poisoning them. It would be quite bad to have some of that poison in your own drink, wouldn't it?"

Holy shit.

"I..."

"But that's just a silly story I've been told. Dunno if it's actually true." The villain shrugged and leaned back in their seat. However, that didn't mean their teasing under the table was less significant. In fact, it felt a little too scandalous.

"I think I have to use the restroom," the hero mumbled. Their heartbeat was completely out of this world. They knew their heart was going to jump out of their throat any second now. "I'm sorry, I'll be back in just a second..."

The hero stood up, nearly knocking over the table.

"Wait, darling. Come here first." The hero did but they didn't expect the villain to grab their jaw and pull them down to their eye level gently. They turned the hero's head in their hand as if the hero's head was some kind of toy until they could whisper into the hero's ear. "Remember not to use any poisons I am immune to next time. But like I said. It's quite adorable. I enjoy your company."

They pressed a soft kiss to the hero's cheek.

The hero could barely walk to the restroom.

[dailyadventureprompts]

Dm Tip: Playing the Villain/ Guidelines for "Evil" Campaigns

I've never liked the idea of running an evil game, despite how often I've had people in my inbox asking how I'd go about it. I'm all about that zero-to-hero heroic fantasy not only because I'm a goodie twoshoes IRL but because the narrative-gameplay premise that d&d is built around falls apart if the party is a bunch of killhappy murder hobos. Not only would I get bored narrating such a game and indulging the sort of players who demands the freedom to kill and torture at will (I've had those before and they don't get invited back to my table), but the whole conceit of a party falls through when the obviously villainous player characters face their first real decision point and attempt to kill eachother because cooperation is a thing that goodguys do.

Then I realized I was going about it all wrong.

The problem was I had started out playing d&d with assholes, those "murder and torture" clowns who wanted to play grand-theft-auto in the worlds I'd created and ignore the story in favour of seeing how much unchallenged chaos they could create. They set my expectations for what an evil campaign was, and I spent the rest of my time developing as a dungeonmaster thinking " I Don't want any part of that"

But what would an evil campaign look like for my playgroup of emotionally healthy friends who understand character nuance? What would I need to change about the fundamental conceit of d&d adventures to refocus the game on the badguys while still following a similar enough narrative-gameplay premise to a hero game? How do we make that sort of game relatable? What sort of power/play fantasy can we indulge in without going off the deepend?

TLDR: In an evil campaign your players aren't playing the villains, they're the MINIONS, they're mooks, henchmen, goons, lackeys. They're the disposable underlings of uncaring overseers who have nothing but ill intent towards them and the world at large.

Where as in a hero game the party is given the freedom to challenge and overthrow corrupt systems, in an evil game the party is suck as part of that corrupt system, forced to bend and compromise and sacrifice in order to survive. The fantasy is one of escaping that corrupt system, of biding your time just long enough to find an opening, find the right leverage, then tossing a molitov behind you on the way out.

Fundamentally it's the fantasy of escaping a shitty job by bringing the whole company down and punching your asshole boss in the face for good measure.

Below the cut I'm going to get into more nuance about how to build these kinds of narratives, also feel free to check out my evil party tag for campaigns and adventures that fit with the theme.

Designing a campaign made to be played from the perspective of the badguys requires you to take a different angle on quest and narrative design. It’s not so simple as swapping out the traditionally good team for the traditionally bad team and vis versa, having your party cut through a dungeon filled with against angel worshiping holyfolk in place of demon worshipping cultists etc. 

Instead, the primary villain of the first arc of the campaign should be your party’s boss. Not their direct overseer mind you, more CEO compared to the middle managers your party will be dealing with for the first leg of their journey. We should know a bit about that boss villain’s goals and a few hints at their motivation, enough for the party to understand that their actions are directly contributing to that inevitable doom.

“Gee, everyone knows lord Heldred swore revenge after being banished from the king’s council for dabbling in dark magic. I don’t know WHY he has us searching for these buried ancient tablets, but I bet it’s not good”

Next, you need a manager, someone who’s a part of the evil organization that the party directly interfaces with. The manager should have something over the party, whether it be threats of force, blackmail, economic dependency… anything that keeps the antiheroes on the manager’s leash. Whether you make your manager an obvious asshole or manipulative charmer, its important to maintain this power imbalance:   The party arn’t going to be rewarded when the boss-villain’s plan goes off, the manager is, but the manager’s usefulness to the boss-villain is contingent on the work they’re getting the party to do.  This tension puts us on a collison course to our first big narrative beat: do the party get tired of the manager’s abuse and run away? Do they kill the manager and get the attention of the upper ranks of the villainous organization? Do they work really hard at their jobs despite the obvious warning signs and outlive their usefulness? Do they upstage their manager and end up getting promoted, becoming rivals for the boss-villain’s favor? 

Building this tension up and then seeing how it breaks makes for a great first arc, as it lets your party determine among themselves when enough is enough, and set their goals for what bettering the situation looks like. 

As for designing those adventures, you’ll doubtlessly realize that since the party arn’t playing heroes you’ll need to change how the setup, conflict, and payoff work. They’re still protagonists, we want them to succeed after all, but we want to hammer home that they’re doing bad things without expecting them to jump directly to warcrimes. 

Up to no good: The basic building block of any evil campaign, our party need to do something skullduggerous without alerting the authorities.  This of course is going to be easier said than done, especially when the task spins out of control or proves far more daunting than first expected. The best the party can hope for is to make a distraction and then escape in the chaos, but it will very likely end with them being pursued in some manner (bounties, hunters, vengeful npcs and the like).  Use this setup early in a campaign so you have an external force gunning for your party during the remainder of their adventures. 

Dog eat dog:  It’s sort of cheating to excuse your party’s villainous actions by having them go up against another villain who happens to be worse than they are. The trick is that we’re not going after this secondary group of outlaws because they’re bad, we’re doing it because they’ve either got something the boss wants, or they’re edging in on the boss’s turf.  This sort of plotline sees the party disrupting or taking advantage of a rival’s operation, then taking over that operation and risking becoming just as villainous as that rival happened to be. This can also be combined with an “Up to no good” plot where both groups of miscreants need to step carefully without alerting an outside threat. 

The lesser evil: This kind of plot sees your party sent out to deal with an antagonistic force that’s a threat not only to the boss’s plans but to everyone in general. In doing so they might end up fighting alongside some heroes, or accidentally doing good in the long run. This not only gives your party a taste of heroism, but gives them something in their back pocket that could be used to challenge the boss-villain in the future.  

The double cross: In order to get what they want, the party need to “play along” with a traditional heroic narrative long enough to get their goal and then ditch. You have them play along specifically so they can get a taste of what life would be like if they weren't bastards, as well as to make friends with the NPCs inevitably going to betray. This is to make it hurt when you have the manager yank the leash and force the party to decide between finishing the job , or risk striking out on their own and playing hero in the short term while having just made a long term enemy. This is sort of plot is best used an adventure or two into the campaign, as the party will have already committed some villainous deeds that one good act can’t blot out. 

Next, lets talk about the sort of scenarios you should be looking to avoid when writing an evil campaign:

Around the time I started playing d&d there was this trend of obtusely binary morality systems in videogames which claimed to offer choice but really only existed to let the player chose between the power fantasy of being traditionally virtuous or the power fantasy of being an edgy rebel. Early examples included:

Do you want to steal food from disaster victims? in Infamous

Do you as a space cop assault a reporter who’s being kind of annoying to you? in Mass Effect

Do you blow up an entire town of innocent people for the lols? in Fallout (no seriously check out hbomberguy’s teardowm on fallout 3’s morality system and how critics at the time ate it up)

I think these games, along with the generational backwash of 90s “edge” and 00s “grit” coloured a lot of people's expectations ( including mine) about what a "villain as protagonist" sort of narrative might look like. They're childish exaggerations, devoid of substance, made even worse by how blithely their narratives treat them.

Burn down an inn full of people is not a good quest objective for an evil party, because it forces the characters to reach cartoonish levels of villainy which dissociates them from their players. Force all the villagers into the inn so we can lock them inside and do our job uninterrupted lets the party be bad, but in a way that the players can see the reason behind it and stay synced up with their characters. The latter option also provides a great setup for when the party's actually monstrous overseer sets the inn on fire to get rid of any witnesses after the job is done. Now the party (and their players) are faced with a moral quandary, will they let themselves be accessories to a massacre or risk incurring their manager's wrath? Rather than jumping face first into cackling cruelty, these sorts of quandaries have them dance along the knife's edge between grim practicality and dangerous uncertainly; It brings the player and character closer together.

Finally, lets talk about ending the villain arc:

I don't think you can play a whole evil campaign. Both because the escalation required is narratively unsustainable, but also because the most interesting aspect of playing badguys is the breaking point. Just like heroes inevitably having doubts about whether or not they're doing the right thing, there's only so long that a group of antiheroes can go along KNOWING they're doing the wrong thing before they put their feet down and say "I'm out". I think you plan a evil campaign up until a specific "there's no coming back from this" storybeat, IE letting the Inn burn... whether or not the party allows it to happen, it's the lowest point the narrative will allow them to reach before they either fight back or allow themselves to be subsumed. If they rebel, you play out the rest of the arc dismantling the machine they helped to build, taking joy in its righteous destruction. If they keep going along, show them what they get for being cogs: inevitably betrayed, sacrificed, or used as canon fodder when the real heroes step in to do their jobs for them.

Art

[disaster-writer]

Epiphany

Pairing: Shinsou Hitsohi x Reader

Summary: Shinsou wasn’t as good as he thought he was

Word Count: 604

Warning: Smut, noncon, brainwashing

Minors DNI

Shinsou Hitoshi was a good man. He was a hero.

He spent his entire life fighting tooth and nail to prove just how worthy he was of that title. 

He ignored everyone who told him he had a villain’s quirk and he didn’t give up when he was put into general studies, being the only one in his year to manage to successfully transfer into the hero course.

He had teachers and friends that recognized him as a good person— even the media praised him for his efforts and successes. 

He had been such an intrinsic part in aiding the war that took place back in high school and yet—

You still didn’t trust him.

Shinsou Hitoshi has only ever wanted two things in life. To become a hero and for you to finally notice him.

He’s confessed to you so many times throughout the years it was downright pathetic. He should move on, he knew he should have a long time ago. But you were just so sweet and soft, the opposite of what he had to deal with on a daily basis. And with your families being friends, he never got enough of a reprieve from your presence to even attempt to move on.

And now you had a boyfriend.

He wasn’t a hero but still, Shinsou could tell he was a good man that looked at you as if you hung the stars in the sky.

It was still a new enough relationship when you brought him to the party his parents held that he could imagine it not lasting very long— so many things could happen between now and the next time he saw you.

But then your sister was getting married two months later and you were still together.

Shinsou wondered if all heroes had breaking points. It was hard to imagine with all the noble acts he’s heard his favorite heroes do that any of them could do anything so vile that would make them fall from their pedestal.

Could a hero still be called a hero after committing a crime? Would all of his heroic acts cancel out the one terrible thing he ever did?

He didn’t know. He wasn’t much for deep philosophical questions.

But he did know how good your pussy felt, clenching and dripping for him.

He tried to push down the guilt that flooded his heart at the glassed over look in your eyes, and instead buried his face into your chest and deciding to live in the moment as he helped you ride his cock.

Both your families were downstairs— your boyfriend was downstairs, and probably looking for you.

Shinsou hadn’t realized he started crying. Silent tears fell from his eyes and landed against your chest.

”I’m sorry,” he sobbed with a moan, his hands gripping your hips and bouncing you on top of him, “I’m so sorry, Princess.”

He gazed back up at you, staring at your white and glossed over eyes, wondering what was going on inside that head of yours.

He felt his balls tighten and found himself cumming inside of you with a loud and unrestrained moan.

The post orgasm clarity hit him like a truck as the tears fell more rapidly as he stared at what he had done.

Silent tears slipped down your cheeks, your nipples were raw from his mouth, and his cum coated the base of his cock where the two of you were still joined.

He wrapped his arms around you, crying against your chest once more.

”I’m sorry.”

With a sickening realization, Shinsou knew he wasn’t the hero he thought he was.

[hey-hamlet]

BNHA AU Idea - Let's Kill Sensei!

I just got reminded assassination classroom is a show that existed so im shamelessly cribbing the premise.

Midoriya Izuku didn't make it into the hero course. Without a quirk and only 10 rescue points - it just wasn't enough. Still, his score in the written exam saw him placed in gen ed - class 1C - with all of the other failed hero students. The classroom has an uncomfortable vibe - the recent and abrupt retirement of All Might after a villain attack on his home left him badly injured, coupled with their own failures, leave them all on edge.

To say they were expecting the man who walked into their classroom would be a mistake, but the gut wrenching fear that followed was almost expected.

All for One, the man they'd all seen nearly murder All Might 3 months ago, grinned - red eyes squinted in real mirth. "Hello, students. What on earth shall I teach you today?"

1C has 1 year to kill their homeroom teacher, or he takes over Japan. 1 year to kill a 200 year old villain with more quirks than UA has students. The student who kills AfO will be given 1 billion yen and moved to the course of their choosing.

What AfO hasn't told anyone is that he has a special gift for the student who manages to off him - if any of them do.

Featuring:

this is a deal with UA and the HPSC - UA wanted him with 3rd year heroics students while the HPSC insisted on gen ed - UA thinks the students have a chance, while the HPSC wants cannon fodder they can throw at AFO so they have extra time to plan.

the only person aware of this deal on UA staff other than Nezu is Present Mic - the man who was supposed to be gen ed's homeroom teacher. Nezu wanted to tell Eraserhead as well, but AfO argued that that was an unfair advantage to UA

gen!ed uraraka - without her rescue of Izuku, she didn't get enough points for the hero course

Dad for One - but Izuku doesn't recognize him (its been like 10 years, plus 'Hisashi Midoriya' had black hair). It's pretty clear Izuku is AfO's favourite student. but given that just means hes even tougher and like. Also a murderer. No one is particularly jealous.

Izuku, Shinso and Uraraka friendship - none of them really have anything to lose - either they are the ones to kill AfO or their lives are over.

[leoleolovesdc]

It’s so weird that Heathers the musical toned down so many things from the story (Veronica’s gray morality, JD’s behavior as a whole, Kurt and Ram’s sa on the girls, etc.) but decided to make the Heathers way bigger assholes than they are in the movie.

McNamara doesn’t do anything in the movie, she just goes along with Chandler and kicks Veronica one time at the beginning but then in the musical she’s setting up a fcking date rape??? She goes along with the boys during Sword Fight in Her Mouth and is just a bitch to Veronica all of the time, but everyone in the fandom (and also Veronica somehow) kind of ignores it because she acts innocent.

Duke, even though she isn’t made that much worse from her movie version, (except for the date rape thing with McNamara) is also way more agressive and obnoxious. In the movie, even after Duke turns into a Chandler carbon copy she’s still a funny and likeable character. In the musical she is an asshole even before Chandler dies and her and Veronica keep antogonizing each other from beginning to end when in the 1989 version they were pretty much friends until the last minute.

I think one could make an argument that Duke’s bullying of McNamara is also worse in the musical, but I’m a bit lazy to adress that, so just have in mind that in the musical she’s also more agressive, screaming at Mac at live TV instead of just writing “poor little Heather” on the board.

Chandler in the musical is more of a cartoon character than a person. She screams at everything and everyone for no reason whatsoever, she isn’t necessarily a worse person, just very flanderized and, I’m sorry, but I can’t believe that somone who acts that way could even have a chance of climbing so high on the social hierarchy of a school. Heather in the movie was a bitch, but she knew how to keep up appearances. She acted nice, she played people, she never had to scream to get things to go her way, that was how she managed to be so powerful.

The movie is a parody of teenage narratives, the musical takes that parody and plays it straight. That’s how you get an absurd story where the three mean girls of the school are annoying bitchy monsters and the literal murderer is a sympathetic villain.

I think the Heathers 1989 is interesting because of how literally everyone is a bad person, but at the same time not everyone is the same kind of bad.

You have bad Chandler, an fatphobic asshole who doesn’t care about anything unless it affects her. You have bad Kurt and Ram, homophobic, sexist guys who have raped multiple girls. You have bad McNamara, only follows other people’s leads which makes her act like an asshole. You have bad Duke, is not evil when controlled but when given the opportunity she will become an asshole. You have bad Veronica, an uncaring and murderous person who in the end makes the right choice. And you have bad JD, the kind of guy who he thinks he’s justified in blowing up a whole school just because everyone there kind-of-really-fucking-sucks.

All of these people are assholes and some of them should be in jail, but that doesn’t make the psycho who’s killing them some kind of martyr, he’s still just as bad, maybe even worse, than all ofthe others. The musical makes JD look justifiable.

He was good person, he was just traumatized!

If only he had gotten help!

No. Just no. JD was psycho. He was trying to blow up a school. That’s not justified, doesn’t matter what sort of heroic reason he may have he had. Which, by the way, he didn’t. He wasn’t killing people because they were assholes, he was killing people because he was an asshole.

Anyway, thanks for coming to my Ted Talk. Yes, I still love all of thsoe characters despite how much shit I talked about all of them, sorry this got long, one thing lead to another, and now I have spent like two hours writing this and my arms hurt from holding an ipad. Bye.

[pikahlua]

Can you expand a bit on why Hawks would want to keep the hero rankings rather than get rid of them? I'm having a hard time understanding why he would do that whatsoever. What "good points" are there that he would want to keep? It always felt like a major source of corruption imo, especially since one of Nagant's jobs with the HPSC was taking out corrupt heroes who found unsavory means to boost their rankings (convincing normal people to do crimes, then arresting them). Appreciate your insight as always <3

Hawks' major criticism of the hero rankings was not the rankings themselves but the popularity component of the rankings.

Saying the "popular" thing, saying the thing everyone wants to hear, isn't heroic; it's cowardly. It's conforming. Hawks is looking for a dependable hero to be a symbol, and such a symbol has to be strong in the face of criticism. They can't capitulate to what's easy and popular, especially when such sentiment stands in contrast to what's needed and righteous.

Hawks goes out of his way to pick Endeavor to mold into a leader because Endeavor has that leadership quality--he's not trying to look good in the public eye in every moment. He's consistent and dependable. He has the highest rate of incidents resolved--even more than All Might. Hawks thinks Endeavor is reassuring, that people will follow his lead.

Of course, the good part about the "popularity" component of the ranking is that it keeps people in check. To give an example, there's this concept in my old line of work called independence, which is divided into two things: actual independence and the appearance of independence. It's important for someone in my old position to be independent in fact BUT ALSO in appearance. If people can't TELL you're independent, how much does it help even if you actually ARE independent? The same thing can apply to heroes in terms of public approval. Yes, heroes need to take public approval ratings with a grain of salt, because sometimes doing the right thing is not the same thing as doing what's popular. However, consistently going against the grain without a thought for helping the public understand you, without regard for social mores or others' feelings, will eventually turn the public against you. It's the issue Katsuki had to deal with as he went through his character arc. If the public doesn't trust you, why would they take your hand when you reach out to save them?

Hawks never really goes into anything like what Nagant mentions, and I don't know if Nagant's commentary on heroes who colluded with villains for fame and glory even was a) directly referring to the hero ranking system or b) something that can be resolved by eliminating hero rankings in the first place. That issue seems like a product of fame chasing, not merely public approval, and people will continue to crave the limelight whether or not there's a ranking system. But if people aren't dependent on heroes being the only heroic ones, such as in this new list of everyday heroes Hawks is considering, the existence of fame-chasing heroes doesn't hurt society as much. People won't be depending on heroes to all be perfect and good, they'll support each other, and so the whole system won't be shaken up by the public image of heroes wavering.

As an aside, there's one other funny thing to me about this idea Hawks has.

Hawks is a young upstart, and the fact that he landed this influential political position is quite a shake-up of the status quo. Japan notoriously likes to have things happen in a certain social order, and young people jumping up the ladder ahead of their elders always makes for an awkward dynamic. I do kinda think Hawks is being considerate by not "doing things a little too fast" and completely destroying the old system, because something that radical is not always palatable to the majority opinion, especially when the person advocating for it is as young as Hawks. Just changing a system this much is already a pretty radical step based on my (limited) understanding of contemporary Japanese politics. And I direct you back to my commentary on how Hawks is building on what the older generations have given the next ones. He's always been a character that sat between the older and newer generations like a bridge, so this seems like a decent compromise.

[luna-rainbow]

RE: People giving Bucky a hard time over his "I'm invisble, I'm turning into you.." line being "selfish" That whole scene is Bucky displaying behaviour consistent with depression or traumatic stress. He's drinking by himself in an isolated area, isolating himself from social situations by not sitting with the ohers - he doesn't initiate the convo with Steve and he's apparently smoking. Although a lot of people did that then we didn't see any sign of him smoking before? Not that I recall anyway. And I don't believe he was jealous of a woman paying attention to Steve instead of him or "taking" Steve from him. Bucky's a true friend (I'm not a shipper full stop): and true friends aren't possessive nor do they take issue with you spending time with others or flirting with the same person as them.

I think Bucky was simply testing himself. He wanted to see if he could still muster the confidence and charm to convince a lady to dance with him which he'd probably never had any problems doing before. Its the first time he initiates a conversation the entire scene.

When it didn't work was when he knew there was something wrong. I don't think it was just the super-soldier serum. It's interesting that after that Steve is really the only person he interacts/talks to having been very sociable and outgoing before. Some people have also noted that his tone of voice chances as well, he seems to speak less often, more softly and his tone is quieter. So maybe "I'm turning into you" is actually a kind of role-reversal. Bucky is now the quiet, less confident, introverted one and the one who has been victimized (and is about to be again by HYDRA). Kind of interesting as well that the serum now means Steve is taller than him too.

Poor Bucky. Cut him a break and give that man a hug. And a cookie. A cookie can't hurt.

Hey nonnie, I'm not sure who's been giving Bucky a hard time over the "I'm invisible" speech but I'm glad I haven't seen it XD

I had a meta a while ago about that particular line. It's not a fixed headcanon by any means, I was just running with the flow of Bucky's thoughts to see how he might have ended up in that moment.

And yeah, I agree, I think he was in a very vulnerable place at that time. Not just what he went through during imprisonment, but he's also traumatised by what he's seen so far in the war, and now someone who matters very much to him is in danger (Steve) and he can't do anything about it. I'm basing my projections on what Sebastian had said about Bucky in the "let's hear it for Captain America" scene -- that no, he wasn't jealous of Steve in that moment, he was just horrified he wouldn't be able to protect him anymore. He's torn between admiring Steve for the courage, and the very realistic fears of seeing Steve come to harm, but he also knows Steve too well to talk him out of it. So he's not in the best headspace in that moment.

I do want to gently disagree in that jealousy in a friendship doesn't make it less pure or less good, it's simply a very human response to what is at its heart a fear of abandonment. Even if you logically understand that you need to let your friend have other relationships, you can still feel jealous if that eats up time you'd normally have with your friend, and apprehensive about what else you might lose. It's what you do with those emotions that defines your morality. This is why a lot of fans say that Bucky has had a villain origin story but has come out the other end a hero -- he's gone through an arc of loss and fear and jealousy, but come out the other side still staunchly Steve's friend, and that's a heroic arc.

As always I think Sebastian did a fantastic job with Bucky. The change in Bucky pre-war and post-war is considerable.

His voice is lower and coarser, his mannerisms are much more "schooled" rather than boyish, it screams less bravado and more of a quiet assurance, and that frown never lifts from his brows. But yeah, a lot of that is battle-hardened professionalism, but I think a lot of that is also Sebastian factoring in Bucky's mental health. And his eyes are on Steve a lot more even when they're not conversing -- shipping angle aside, Steve is his commanding officer, and my other thought is that...his eyes are always on Steve because the danger to Steve is much higher now, and he's always made it his personal mission to make sure Steve's going to be okay.

(I mean there's also a lot we can say, or has been said, about that particular scene in terms of male writers writing female love interest badly, but that's an entirely different topic)

[itsnothingofinterest]

So now that the stories basically over I’m starting to think horikoshi never wanted to actually make any commentary or do anything with the societal issues and he only had them there out of obligation. We know horikoshi is a huge fan of American media especially comics. A lot of what he brought up, discrimination and mutant racism villains who are also victims and you can see where they’re coming from like magneto domestic issues with neglectful and abusive fathers and lingering trauma following a legacy, all of it is in comics that have been trying to make commentary on society and bring up actual societal issues. Maybe horikoshi really was just making a story with what he thought was cool in the moment, and he included all that stuff just because it’s been in media he’s consumed before and he was writing what he knows. Maybe since the start all the theorycrafting people has been for nothing and Horikoshis end goal was always no matter how bad stuff is as long as individuals can be good everything will work out just fine and everything will get better. I dunno just rambling here since the manga is ending so soon.

Honestly, I could see a bit of these arguments. This whole epilogue had made Horikoshi, an author I really respected the writing of not too long ago, come off as a bit of a hack.

I don't think it's quite as simple as him just throwing in whatever he thought was cool or what comic books make look interesting; I personally suspect it may have started out more as "what motivates these villains that they'd fight so hard for," but I do think he put a lot of thought into these set-ups and circumstances hat led the villains to think destroying society was the right & reasonable way to go about things. One thing he was really good at was finding logical conclusions to a society of super powers; stuff like quirk marriages, prejudice against people who's powers make them ugly, or dangerous, or suck, and especially the consequences of "Super Hero" being a professional industry.

His problem was just that he had no idea how to solve these things at all, least of all by teenagers (teenagers who're minor celebrities by the end, but also sidekicks at best). So the villains, who he set to to get saved to make the kids seem more heroic, die anyway because that's all the kids could do for them. And then everything that needed fixing just solves itself because of ~good vibes~ and 'zomg Deku's so inspirational' that suddenly no one is awful anymore (again, read in this tone). And for some reason it never occurs to Hori that he could've had his villains live and go free through means as contrived as heroes getting free time because of those ~good vibes~.

In short, Horikoshi could write this stuff once upon a time; but his main problem looks to me that he simply couldn't write satisfying resolutions to the society-scale issues he set up and stick the landing to save his life.

[la-pheacienne]

Why is it so difficult for you guys to admit that book!Daemon with his qualities and his flaws makes for a better, more solid, more truthful character and also a better narrative overall? You are so far down your hating spree that you can't see how objectively bad and cringe his show portrayal is compared to his book counterpart. Where is the duality, where are the extremes, where is the strong family bond where is the ruthlessness? Where are the flesh and bones of the character? Where is the nuance you all keep yapping about? What side of show!Daemon could you possible call nuanced?

He's not a hero, that's for sure. He's not an anti-hero either since he barely does anything heroic to begin with, and you do need that for an anti-hero whose premise is usually a mix of heroism with questionable motives. But that guy has no redeeming qualities since he doesn't give two shits about his family. On the other hand, he makes for a very hollow antagonist because he has a trajectory we cannot relate to, his motivations are flimsy and cartoonish. Narrative-wise, an antagonist is supposed to cause problems to the protagonist, and that particular antagonist is spending half of the season trapped in a horror house whining about his vassals not addressing him with the proper title and dreaming of his mother's pussy. He's just a looser. As a villain, he's a joke. He can't even unambiguously order the murder of a child to avenge his kin. What kind of villain is this lmao. Result: a pretty lame, unrelatable, cartoonish and anti-climatic character. Bad, very very bad TV.

What is the problem with showing book!Daemon's duality, the evil side of a proud, ruthless, competent prince and family man who is devoted to his house and his family, a man that raised a lot of kids and had two loving marriages? Isn't this just a better, more entertaining, richer character portrait ? Doesn't this character, this antagonist, if we insist on treating him as an antagonist, this villain even, feel more real and more relatable this way? You think that cheapened, neutered down, cartoonish portrayal has more life and nuance than the book y'all call boring? "He was made of light and darkness in equal parts" do you think show!Daemon can really convey this as he is right now? Come on. I would be embarrassed to actually praise such a bad portrayal. As team black I actually like the greens this season, even Alicent, I think the show did a good job at humanizing them and making them feel real, fully-fledged and nuanced. I don't understand why Daemon didn't have the same treatment. The only possible explanation is that if he had the same treatment (and he did have it in the beginning of the first season), his popularity would have been so big that nobody would actually give a fuck about the greens lol. Sad though.

[save-the-villainous-cat]

It wasn't like the hero had planned this.

"Is this a joke?"

And it wasn't like they had much of a choice, either.

"Hey," they said. Their voice wasn't even fully there. It wasn't much more than a breath. Their hands were still trembling and they didn't dare to meet the villain's eyes. All in all, they felt pathetically incompetent. "Do you have bandages?"

The villain stared at them as if the hero was something alien that came out of a laboratory.

The hero supposed they couldn't blame them - they looked pretty fucked up with the blood running down their temple or the many cuts on their arms and legs.

"If this is one of your sad attempts where you try to get some heroic action out of me by pretending-"

The hero raised their arms in a defensive manner and contorted their face when their open wounds continued to torture them. It had been painful enough to drag themselves to the villain’s apartment.

"I just need some bandages," they said. "I have nothing on me. Frisk me. You can kick my ass when I do anything suspicious."

"Fine." The villain opened the door even further and let the hero walk past them. The villain's apartment was small but neat - just as the hero had expected. They knew their nemesis was a rather orderly person. Someone who had their rules and methods and acted accordingly. Hell, even their fighting was the most coordinated thing the hero had ever seen.

They heard the door close behind them.

Fascinated by the villain's choice of decoration, they barely noticed how they were about to reach the living room already. However, suddenly, the hero felt the villain's hand on their shoulder and in the next second, they got pushed against the hallway's wall.

Reluctantly, they whimpered, feeling the pain of their open wounds a little too well. The villain was right in front of them, studying their enemy carefully.

They cocked their head. They leaned over.

"Take your shoes off," the villain said. The hero swallowed. Although they had been this close to each other countless times, it was a little different now.

It was a little different in the villain's home, a little different with the hero's aching body. It was surely true that - to some extent - the hero wasn't just here for bandages. Deep within, they wanted some comfort but they knew not to ask for that. They had learnt a long time ago not to ask for these things.

"Sorry," the hero mumbled. They slipped out of their shoes without even looking down. The villain's gaze was indecipherable. Were they mad? Or bored? Or annoyed? The hero couldn't tell.

"I'm gonna check you for weapons now."

"Oh, yeah...yes." The villain's fingers were on them instantly and to the hero's surprise, they were stupidly gentle.

It could have been easy to make the hero suffer in a stage like this. With wounds all over their body, the villain could have grabbed them or pushed their fingers into the cuts but none of that ever happened.

Their fingers were simply ghosting over the hero's suit, avoiding the horrible wounds. Once the villain's hands were on their hips, the hero had to blush.

"Now tell me what happened," the villain said. Their voice was calm but their gaze was fixated on the hero.

Then, they kneeled in front of them, with their hands going down both sides of the hero's left thigh.

"Oh, I..."

And then the other thigh.

The hero took in a deep breath. It was hard to imagine that they were able to push their pain aside for a second because the villain was touching their thighs. Being distracted was a luxury they couldn't afford.

"I was in the middle of a training session and...I kinda freaked out and teleported to the other end of the city."

Admittedly, the hero hated their powers. Being a teleporter had a lot of potential, especially considering the different ways of defeating an enemy. They could be quite creative. It was somewhat exciting but it was still an incredibly difficult superpower to control.

In the beginning, the hero would teleport to random places. It had been so bad, in fact, that the agency had decided to lock them up for a few months. The hero understood it had been necessary but even today, they had nightmares about it.

Although they could control themselves now, sometimes (under immense stress), they would teleport with no control whatsoever.

It was pure chaos.

"I landed in the park nearby."

The villain was still kneeling. They looked up.

"So, you are telling me these cuts are from a training session? And you panicked during a training session so much that you teleported?"

"Pretty much, yeah." The villain let their fingers glide under the hero's pants right by their ankle and it quickly dawned on the hero that they had made a stupid mistake.

Presumably, the villain had known all along about the tiny knife the hero was always hiding right there. The hero's ears started to burn. The villain was going to throw them out.

They stood up and suddenly, the hero was oh so aware of how much taller the villain actually was compared to them. They held up the tiny knife.

"And you think that is normal?"

"Listen, I am so sorry. I forgot about that. I never meant to-"

"You believe it is okay that this happened?"

"What?"

"You teleporting to the other end of the city? You think that is normal?"

"It was just an accident," the hero said. They shrugged and even that hurt. "Things like that happen."

"Do you know why your body does this?" the villain asked. Apparently, they were done with their search. They confiscated the knife, barely paying any attention to it and the fact that, technically, the hero had lied to them about being unarmed.

They took the hero's arm and stared at a particularly deep cut. The hero could remember how it had happened; they had raised their arms to defend themselves from the upcoming attack. The blood was still running.

"I think I just suck at controlling my powers. I need to…you know, train more."

"It is a survival instinct," the villain said. "You are teleporting because your body wants to be anywhere but in that situation. A training session is supposed to challenge you, not traumatise you."

"You don't have to worry about me. In case that is what you are doing."

"I am…" The villain frowned. "I actually don't know what I am doing right now."

At least the villain was honest.

"But you need a bit more than just bandages," they continued. "Sit down in the living room. Just…"

The villain seemed a little confused. Their eyes avoided the hero, their fingers were still on them. The hero wasn't sure if their enemy was actually embarrassed.

I actually don't know what I am doing right now.

The hero smiled to themselves.

They didn't know what the villain was doing either but, at least, they were comforting, even though the hero being here could turn out to be a major risk for them.

"…just don't bleed all over my couch."

They weren't even mad when the hero failed to do that.

[dailyadventureprompts]

Villain: Mölbitur, the Undermiser

The boogyman of many a mining village up in the Talrrun Hills, it's said that this greedy giant lurks in abandoned mineshafts and snaps up the unwarry to toil for him forever beneath the earth. Mölbitur's abductions are often used to explain to small children why their parent(s) are never coming home after the all too common tragedy of a tunnel collapse.

The undermiser dwells not in any one depleted pit, but in the feywild, specifically a dizzying labyrinth of cavernous tunnels and collapsing supports known as the Bled Vein. Here the giant and his victims dig endlessly deeper, endlessly filling in the tunnels behind them with worthless rock and bodies of the exahusted. They seek a vast fortune that they will never uncover, and anything shiny they find in the meantime goes to fill Mölbitur's coffers.

Adventure Hooks:

The party are called to the Talrrun hills after sightings of strange creatures skulking through the night, rummaging through homes, pilfering supplies, and carrying off animals. The culprits turn out to be a band of Knackers, sent by the hill giant to return something that was stolen from him and maybe pressgang a few more workers along the way.

The people of the hills are suspicious of outsiders, but after the party prove themselves by ousting the mischevious mine fey and returning a few of the purloined people and possessions, they'll have more than earned the trust of Talrrun's folk. As the rumors go, some weeks back a youth appeared in one of the nearby villages, dirty and confused and carrying an emerald larger than her head. The girl said her name was Merita Hind, the same name as the eldest daughter of the Hind family who went missing almost two generations back. Before anyone could sort out the truth of the matter, the local count's men and sheriff appeared in town and whisked the girl ( and her riches) away.

Merita is the sort of brave and clever child you'd expect out of a fable, one who figured out a way to slip into fairyland for the explicit puproses of robbing a wealth hoarding giant all so that she could feed her impoverished family. Though she managed to acomplish this heroic and selfless task, what Merita failed to account for was the time and memory distortion that vexes so many feywild travlers. Robed of her own acomplishments by a whim of fate, she returns to a world where her parents are dead and her siblings have either moved away or become parents themselves, leaving the poor girl is in a state of utter confusion. This is not helped by the enterprising count, who has retained Merita as his "guest" in the hopes that she will get over her hysterics trust him enough to reveal the source of the treasures she carried. This is a girl in need of a heroic rescue, luckily there are some fellow heroes around.

While he is all too used to letting others search for riches on his behalf, Mölbitur cannot abide a thief, so when his minions return empty handed (or don't return at all) he'll have to settle things personally. It's shortly after the party rescue Merita that a rumble will shake the ground (or if you're feeling extra spicy, have this mini earthquake occur just as the party is mid way through making their escape) as the giant claws his way out of a nearby hill and begings rampaging through villages demanding the return of his treasures.

Defeating the undermiser is easier said than done, especially with a magical pickax in hand capable of rending the earth or ripping down a castle's battlements. When the party do eventually winnow down his health to 0, Mölbitur will go mythic, cracking open the earth benith them and dragging himself, the party, and all their surroundings into the feywild. Awakening in the dreadful depths of the Bled Vein, the heroes will need to navigate its twisting halls to finish off their quarry, then find a way out that won't have them meeting the same fate as poor Merita

There are many treasures of the earth in Mölbitur's horde, but perhaps most perplexingly is a pair of genasi siblings kept in an iron cage to act as the undermiser's eternal hearth, one of the few sources of true warmpth in the chilling depths. They've been poorly treated in their time, but know many of the giant's secrets, such as the convoluted path he uses to pass to and from the mortal plane. They're willing to share it if the party helps them get home, some distant place called the Ashmourn where tides of fire wash the land.

Artists

[thr0wnawayy]

Who would the 10-13 1A members that died in the MLA be, if MHA had any actual stakes? I really liked your Kaminari idea, so I just wanted to explore it with you. It would have realistically made UA/the heroes look a hell of a lot worse and the villains look a hell of a lot smarter if they went for the angle of "the best heroics school in Japan is using child soldiers!"

I know for the heroes, it should have been Pixie Bob and Gran Torino in addition to Crust. Endeavor also should have died because it would have actually given the story actual stakes - Japan is now in shambles and the new #1 hero/heavy hitter is dead. Oh shit, what are they going to do?

Firstly I feel I should clarify that both 1A and B would lose some team members as both classes were thrust into war with basically no real training. Although for the sake of plot 1A would lose vastly more.

With that stated, let us begin.

I know for a fact that Koda is dead.

Truthfully, there is no way someone as bulky as him (with the addition of his poorly designed costume) would be even marginally capable of outrunning Shigaraki's Decay.

His quirk (Anivoice) gives him zero advantages and being in Jaku (a city under evacuation) would only add to this.

We also mustn't forget that the rubble by itself was also capable of disintegrating anything it touched. Putting all that together and given how close he was to "ground zero", his chances of survival are slim to none.

Additionally, everyone who found Midnight's corpse is either dead or brutally injured.

Midnight's body is isolated in a decently foliage heavy area, with plenty of hiding spots and vantage points making it all too easy to set an ambush.

Our merry band of MLA/PLF mercenaries simply have to bide their time, wait for the shock and horror to settle in and then strike.

Sero, Kirishima and Setsuna are easy targets (with Setsuna being the farthest from the bait) their backs are turned and mentally are either distant or "vacant".

If Momo didn't recover from her grief and get off the floor, it's game over.

However. She would likely manage to fend them off long enough to escape (thanks to her intelligence and dexterity), although not without some scars. (eyepatch momo, anyone?)

Mina might be able to hold them off due to her acid but will eventually falter because (as you mentioned) Aizawa's a shitheel.

That brings us up to 5 students so far (if we include Kaminari's death) that have died due to UA's (and the HPSC's) crippling negligence.

I'm a tad hesitant to add Tsu here but it's unlikely she'd survive. (even if she does survive the wave, she'd likely die in the crossfire)

Comicman, because yeah he's unimportant.

For the Villa Raid team it's important that we cut some heroes in order for this scenario to work.

Edgeshot is dead, likely fried to death by Electro-lite.

This would cause the raiding heroes to become discouraged and overwhelmed.

the MLA's gear is more than a match and combined with their years of fighting and tactical prowess. It's not even close.

Simply put; divide and conquer.

Mineta's dying for sure. His costume restricts his (torso and leg) movements and makes him standout like a traffic cone. That guy with holes all over his body is likely the one to snuff him out.

Ojiro is dead the moment the MLA members use numbers to overwhelm him, no amount of martial arts will save you from getting jumped.

Mines dies because his quirk (Twin Impact) suffers from the Flect Fallacy.(Overwhelming the quirk will break it). So pretty much any MLA member could be the one to kill him

That sets the score to 11 total student deaths (8 for 1A, 3 for 1B), not a good look.

We know the rest, Dabi kills Enji for good.

Skeptic publishes a video along with Dabi's exposé that reveals UA is using child soldiers and that the HPSC forged paperwork to allow this.

And the crowd goes wild!

The reactions would be brutal, national if not global criticism from every angle.

The entire raid and evacuation effort would be considered an immense failure, the villains remain at large to gather their numbers and most civilians would be left homeless and displaced.

The hero that everybody placed their bets on turned out be a child/wife beating eugenicist who bought (and later assaulted) his wife when she was only 17. Only to be killed off by the very child he left to burn.

The (global) outrage partially stems from the fact that if it weren't for Dabi, no one would have known otherwise .

The number 2 hero is an (attempted) murderer and seems almost irritated at Enji being outed, the world stage takes this the wrong way and opts not to aid Japan.* What pisses them off the most is his uncaring attitude.

Considering them a lost cause when Shigaraki not only breaks everyone out of Tartarus but also manges to kill AFO by sheer force of will (and wanting to see his friends live as they please)

Rei's speech/conference serves as the final nail. Going into immense detail of the pain she and her children suffered at the hands of Enji. (If their were any doubts Touya was her son, they were killed here)

When asked if anyone knew, she finishes her speech off with revealing that some heroes and staff knew about the abuse and chose to look the other way. Causing the room to burst into an uproar.

*(explaining why Japan was allowed to fester for as long as it did without intervention, something Hori failed to explain)

Parents begin pulling out their children in droves, not wanting to risk their kids getting drafted, others quit by choice.

Shiketsu and Ketsubutsu don't put their students on the front lines (they aren't stupid). The commission is unable to force them due to their, "unique" situation.

The heroes that quit are harshly criticized by the public and media (and usually fairly too), pointing out how shitty it looks (and is) for heroes to suddenly abandon them as soon as things get serious.

Class 1A is left to pickup the pieces with 8 classmates killed (+ Bakugo) the events of the last week have shocked them to their cores but perhaps there is hope.

Of course they're left to pick up their predecessors mistakes, again.

Midoriya would still go rouge, albiet he would stick to his principals. He's made a disturbing connection between Bakugo and Endeavor and it haunts him.

(I should add that Bakugo's death is portrayed for the selfish play it was)

Midoriya likely driven by the need to ensure that he doesn't lose anyone else. His anger at AM would probably stem from the fact that he is putting himself in danger for someone as "expendable" as himself.

I could see the two having a heart to heart that Midoriya is more than his quirk once he willingly returns.

Some additional information:

Bakugo dies permanently, because Edgeshot was killed by "Electro" earlier (even then I'm not doing the writing atrocity that is the "Jeart".)

For heroes I'd like to add Jeanist to the roster. Gigantomachia should have swatted him and his airship like a fly. This means the top 3 are dead, adding to the chaos. This also prevents the old-gen from taking up space.

The High-End Nomu beat the tar out of Miriko, leaving crippled at best and a paraplegic at worst. (That is assuming they don't kill her).

Fourth Kind is killed when, like Ojiro, he is overwhelmed.

Your absolutely correct, Gran Torino and Pixiebob are eliminated, joining Crust.

Twice actually lives, though I would keep that ambiguous until later, he wouldn't get out unscathed of course and would probably need to be put into a coma while his injuries heal.

Himiko's revenge plot now has additional stakes as she promises Twice that she will return to him. (before he's medically put under)

This also fuels the PLF + Spinner, vowing to do right by their ally and friend.

Dabi would have disfigured Hawks upon discovery of his attempt on Twice's life, no more cosmetic scars. Just good old fashioned brutality.

(The fear of losing Twice may have dug up the past memory of losing his mother after Enji drove her to the brink. As Dabi cares deeply for both [even if he won't admit it] ontop of the fact that it's a "hero" that's trying to take them and he betrayed them).

Overall this world is going to be one wild ride with a very different ending to what Hori gave us.

It is a story not of heroes and villains, but of ideals and goals. It asks the question:

What is it to save?

A few additional notes:

Momo would likely have a revenge arc as a sort of parallel between Izuku and Himiko. However it wouldn't be as bland as what we got in canon with Mina.

The mercenaries aren't mustache twirling supremacists, no. Here they're cold, calculated soldiers who are strictly tactical. Midnight was "nothing personal, just business" to them.

They serve as a dark mirror to Momo's shift in personality during the war, as Momo reverts to her initial cold confidant personality and kicks it up to 20 as she hunts them down.

Midnight's killer even points out midbattle on how Momo was sexualized and she doesn't even know it. Telling her at one point: "You may see them as an equal, they see you as a display"

The battle isnt treated as a victory either, while the Momo and her squadron win, the gravity of the situation isn't ignored and Momo actually listens to her opponent's critique.