#if he really can be worthy of being a hero)

[scarletspider2the2ndpower]

Chasm: Curse of Kaine (Vol. 1/2024), #1.

Writer: Steve Foxe; Penciler and Inker: Andrea Broccardo; Colorist: Brian Reber; Letterer: Joe Caramagna

[casiavium]

I didn't really have a song in mind for Link to be playing in my ghiralink Orpheus and Eurydice fic—mostly just unnamed song in an unfamiliar language because that was easy lol—but I'm listening to Zelda music and I think it would be fun if it was Laruto's Lament :) it's a simple harp melody, and the lyrics are in Latin, which would call back to the Greco-Roman origin of the myth:

Ad idem, Ad infinitum

In memoriam, cor unum

vi et armis, vale

As is the same eternally

in memory, one heart

with strength and arms (weapons), farewell

The Latin isn't... great. Also I did the translation while listening to the song so I may be

If you look it up online the most popular translation is

Ad Idem (Of the same mind) *idk where they got mind from, and ad mean to/towards not of

Ad Infinitum (Without Limit)

In Memoriam (In memory)

Cor Unum (One heart)

Vi et Armis (By force and arms) *vi et armis is ablative, so it could be with or by, usually determined by context that doesn't exist here. This translation went for a darker interpretation

Vale (Farewell)

We share one mind

Time cannot bind us

Remember

The heart we share

Now the enemy arms destroy me

Farewell

Which isn't exactly what it's saying but works well enough!

[aria0fgold]

Honestly my headcanoning for The Cursing of Chateau Castle lore continues cooking in my brain like I got more for it but it's all in the microwave for now. Like I got a whole ass storyline for Pierre and Lady Irene. With how hardcore hc-ing I am bout these characters, it makes it seem like they're my OCs but no they're like-- my half-children I think? isat is the other parent of course. I got nothing else to go off of in regards to the chateau trio but the small crumbs and a dream.

[gremlingottoosilly]

Monster!König whose first course of action after the monster uprising was to find his missing bunny wife!Reader who has no idea he even considered them married in the first place. König who is clueless when it comes to societal norms or concepts and learns about marriage through picking up conversations from scientists back when he was locked up. (Still doesn’t have the greatest grasp on it even after getting his hands on human books and media) Reader is just happy to be free from being used as a breeding machine and had no idea her cell?mate thought their relationship ran that deep and wants to get legally married now. :/

Some of the scientists laughed, calling you Konig's little bunny wife. A packmate, someone to get his stress dumped in so their captive monster could be less of a killing machine and more of someone who can actually be controlled and sated. Throw him a bitch with a leaky hole and whiny voice, and he'd be satisfied until the end of time. Konig doesn't like the sound of laughter that comes from the scientists, but he likes the word "wife" forced on you. Wife. Pretty, cute, adorable, small, and fragile thing that needs him to survive - it's basic biology. Needy bunnies like you can't survive in a world filled with humans and certainly can't do it in the new reality, where the strongest are getting all the cards. When Konig eventually gets out, he reads - to his surprise, really, and to the surprise of all of his comrades who would much rather burn everything the old rulers of their world have left. But Konig reads - romance novels, human courting rituals, the true meaning of the word wife and the word husband. He thinks of ways he can put together a wedding worthy of his precious little bunny - when he would finally get her with him, of course. He finds you, of course - it's not that hard to find a bunny in this shrunken world when he has almost all of the power he could have. A colonel in the monster forces, somewhat of a hero waiting for his mate to arrive - you're given to him as a gift from his comrades, a pack of soldiers eager to please their commander. Yes, the little bunny was crying and squirming in his grasp when she was delivered, but it's hardly his fault, is it? Konig just isn't quite sure on how to go about this whole marriage thing and what to do when your pretty wifey is desperately trying to get out of his grasp. He squeezes your throat a bit until you stop trashing in his hold and then spends the rest of the evening exploring your precious needy holes with his tentacles and his hands. God, he missed the feeling of your pussy clenching on his cock, desperate for him to release his seed. You're a bad little thing for denying him, but it's okay, he can work with that. He doesn't care if you're dumb or ungrateful - he will just press further, push his cock as deep into you as possible, squeezing your soft breasts until he swears the milk will come. He will have to breed you for this, of course - as thoroughly as possible until you can't help but cry and moan in his hold. Scientists never allowed him to actually dump his eggs in you, always afraid that he would get too possessive and territorial protecting his clutch and the pregnant mate - but oh, no one is there to stop him now. You would forget all about resisting in a bit - it would be much easier to push you around once you're getting the role of his pretty little wife, just like you were intended to.

[neoanedotheart]

Lazy thing i wanted to do!!! they're just silly :3

I think dave is a pretty princess and John is awkward

I'll be yapping below

I believe that Dave texts John right after he gets his ass handed to him DAILY. It usually plays out like this where they banter and Dave never really goes through the extent of explaining what thoroughly happens to him so John lives in forever ignorant bliss. And this leads Dave to feel like there's more of disconnect because he first of all doesn't really know how to articulate his feelings and second abuse doesn't seem like abuse to the victim. So he goes about everyday unknowingly yearning to be saved by someone greater than him, which is why I put the snow white reference at the end hehe.

Snow white as a fairy tale is extremely cliche, you got the prince in shining armor showing up conveniently on a horse and saving the girl. There's always this hierarchy placed upon the story where the damsel in distress is saved by a man, that man being portrayed as a greater being.

And with John taking place as the prince in this context paints him as this greater being. And I feel like a part of Dave envies and despises John for being this way, for being "perfect" or in a way. Greater than him.

The thing is in the original snow white story she's unconscious, that's undesirable. But it adds to the desperation of wanting to be saved, shining a better looking light on a person who isn't really there for reasons you want them to be. However John is a sincere person, it's more so the lack of communication or true understanding of one another that leads to this rift, this belief that John isn't there for Dave because he loves him, but because he's his friend and it's John's duty as a friend to save him. Which also brings me to the last line where Dave never corrects himself, and how he insinuates that he'll be unconscious due to being placed in a glass coffin much like snow white was when she was poisoned. He's at this stage where he doesn't want to be saved by an outer source, a greater person than him. He wants to be saved by himself he wants to prove worthy, but then conflicting within his mind is also this idea he isn't good enough to. We all know that Dave believes he isn't a hero and explicitly states John is the hero multiple times throughout homestuck. So he stays waiting.

John however, refers to Dave as Cinderella, Cinderella gets abused and put through plenty of torture from her step sisters and is saved through marriage of some person she just met. There's still this base line of being saved by man however there's this more mutual understanding of what they're getting into, a similar yearn for one another. Though he never caught her name he was still willing to find her, the real her. Which is John in this case, he probably understands he's missing something in the big picture but can never find out what and the best he can do is hope that the other half still held on to what they once were and was willing to share.

This is a pre-sburb interaction btw they're just unknowingly foreshadowing a shit ton.

Sorry if there's like bad shitty writing in here, I'm rambling and it's like almost midnight hehe

[maddie-grove]

One trope I really dislike in love stories (mostly common to fanfic and romance novels but it can be found elsewhere) is when the author goes out of their way to (a) establish that a protagonist had absolutely no significant positive feelings for their previous sexual/romantic partners and (b) presents this chiefly as proof that the other protagonist is uniquely Worthy and that the main romance is True Love. This is a pretty specific scenario; I’m not talking about, say, the hero who has no romantic or sexual experience, or the heroine who married young and her husband was shitty in a specific way, or the protagonist who enjoyed their past relationships but they never totally clicked. I’m talking about “the hero has slept with so, so many women, but don’t worry! He never felt so much as slight fondness for them or admired any of their non-physical qualities. He might as well have been using a blow-up doll every time.” Or “the heroine has only ever loved the hero. She has never looked upon another man with lust in her heart. If she ever dated anyone else, she never felt affection or respect or admiration for him. This is proof of true love, not the result of dating only shitty guys or maybe being kind of a tool.” I promise, it’s not going to ruin a romance if the hero is like “my ex-girlfriend was a good person” or the heroine is like “I enjoyed having sex with the guy I dated for five years.”

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design. 

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

 It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

[felassan]

New Details on DA4 from this IGN article: "Dragon Age: Dreadwolf Is Officially Being Renamed, With Gameplay Reveal Set for June 11 - EXCLUSIVE"

"BioWare confirmed that The Veilguard will feature seven playable party members, and that it will feature “fun and fluid, moment-to-moment combat” while continuing to center strategy via the unique powers of each companion.

BioWare general manager Gary McKay explains that while Solas is “still very much a part of the story of Dragon Age: The Veilguard,” the team wanted a title that reflected a “really deep and compelling group of companions.”

“One thing that’s important to remind fans is that every Dragon Age game is a new and different experience and this game, more so than ever, is about you and your companions – a group that you must rally to fight by your side,” McKay tells IGN. “We can’t wait for players to meet, connect and form their own personal relationships with the unique companions that make up The Veilguard. That’s the spirit of this game…of this story. Choosing who will join you on your adventure, fight alongside you, and be there by your side in the end.”

McKay claims that the name change wasn’t a matter of focus testing, which commonly informs decisions like these. He even goes so far as to admit that sticking with Dreadwolf might have been easier.

“We actually think sticking with Dreadwolf would have been the safer choice – ‘Dread Wolf’ is a cool name after all!” McKay says. “In the end, it was most important for us to have a title that was authentic to the companions that are the heart of this adventure we’ve created. We’ve worked throughout development to create really incredible backstories for each companion that intersect with the main narrative in meaningful ways.”

As for why it’s not simply named “Dragon Age IV,” McKay says it’s for the same reason that Dragon Age Inquisition wasn’t called “Dragon Age III: Inquisition.”

“Every game in the series tells its own unique story and the title is an important element to help set the stage for the next standalone adventure inclusive of its own hero, companions, narrative arc, villain, setting, etc,” he says.

Asked what it means for BioWare to finally be able to show The Veilguard to the world, McKay said, “As the studio head and executive producer, it’s been incredible to see the journey, resilience and passion that this team continues to bring every day. We have an incredible group of both BioWare and Dragon Age veterans who have been with us for years, as well as new faces and voices that love the series who have helped to create an unforgettable experience we feel will be worthy of the Dragon Age name.”

So who exactly are the Veilguard? In the lore, the Veil is a barrier between the physical world and Fade, which is Dragon Age’s spirit realm. Solas, who helped create the Veil, now wants to destroy it. Hence, as McKay puts it, “the Veil needs guarding.”

While acknowledging that the why and the how is definitely spoiler territory, McKay says, “The biggest clue I can share is that you and your companions – that make up The Veilguard – are central to taking down a new evil threat unleashed upon Thedas. It might not just be Solas.”

McKay isn’t quite ready to reveal the party members quite yet, but does provide some hints on what to expect, including some initial info on romances.

“We spent a lot of time making our companions feel authentic based on their own unique experiences within this larger fantasy world, which in turn makes the relationships you form with them feel even more meaningful. We’ve tapped into Dragon Age’s deep lore and explored its most iconic factions to bring each of the seven companions and their stories to life,” he says.

“I won’t spoil next week’s reveal but I can say we’ve created a story where you can impact the world and the companions that surround you. Player agency is important to the Dragon Age: The Veilguard experience and allows each player to form unique personal connections with their companions of choice. And, yes, you can romance the companions you want!”

McKay says the decision to pare the number of companions from nine to seven is mostly down to it being the “right number for the story we’re telling.” Each one is intended to represent a unique faction or element from Thedas, and will feature their own arc with “stories of love and loss, each with meaningful choices and emotional moments.”

He continues, “As you accompany your companions to unravel their backstory and earn their loyalty and friendship, you’ll visit more regions of Thedas across a deeper variety of biomes than any Dragon Age before it.”

McKay mostly sidesteps questions of how Inquisition’s characters might fit into The Veilguard’s story, though he does confirm that it will once again feature an original protagonist similar to The Warden, Hawke, and The Inquisitor, noting that each Dragon Game has its own standalone story with its own thread and conflict.

“Games across the Dragon Age franchise are never designed as a game-over-game continuous storyline. There are familiar arcs, factions and heroes important to the overarching Dragon Age universe that weave through the new story we’re telling,” he explains. “The previous games, characters and events aren’t the anchor of Dragon Age: The Veilguard it’s about your adventure with a brand new cast of companions that you must rally to fight against a powerful force.”

He once again teases another villain beyond Solas: “I don’t want to get too deep into spoiler territory but I can say that the Dread Wolf is not the only god players need to be worried about.”

When The Veilguard is finally revealed on June 11, BioWare’s presentation will include 15 minutes of gameplay from the opening moments of the game, which will help set up the story. On the gameplay front, McKay says that The Veilguard’s combat was a “big area of focus” and something the team wanted to push forward. Among other things, McKay says that The Veilguard will feature an ability wheel designed to give players more direct control over their characters.

“As an RPG, strategy in combat is important as you bring two companions to every fight. Each companion brings unique powers and abilities that have a direct impact on how you choose to take down the enemies at hand,” he says. “To add another layer to that strategic element, we’re introducing a new ability wheel where you can pause the action and set up your next move – whether it’s your companions’ abilities or your own.

“The ability wheel opens up a huge amount of strategic possibilities, giving players the ability to control the flow of combat and link powerful combinations of abilities between players and their companions that can quickly turn the tide of any battle. We think we’ve found an exciting balance between fun, fluidity and strategy for every encounter.”

“This is a game and experience that continues BioWare’s tradition of single player RPG storytelling set in the epic fantasy world of Thedas,” McKay says. “We know Dragon Age fans and the community have been waiting a long time for the next game and we could not be more excited to share our gameplay reveal on June 11.""

[source] (emphasis mine)

[lesaurita]

♡︎ Izuku Midoriya as your boyfriend ♡︎

Pairing: fem!reader x Izuku Midoriya

Genre: fluff

Warnings: suggestive content, jealous!Izuku, sub!Izuku

•° first of all: he's the number 1 babygirl.

•° every hour of the day, no matter what you're doing, he'll take pictures of you. His gallery is just full of your photos. every week his lock screen changes to a new photo of you. And then he loves looking at your beautiful smiling face at night in his bed before falling asleep, so he can dream of you. When you ask him if it's necessary to take all these photos, he answers that they're useful during the times when you can't be together because of missions.

•° do you really think that the photos are enough for him? Nah, Izuku clearly has a talent for drawing, and he certainly won't waste it by only disdaining sketches of other heroes. No, in his room he has a drawer dedicated only to you, inside which there are a lot of notebooks portraying you.

•° you don't have to talk, for him even just looking at you while you share headphones and listen to your favorite songs, with a breathtaking sunset in front of you. That's enough for him.

•° he lets you do any hairstyle on his messy hair. He loves the warmth of your hands in his hair and most of all he loves your laugh when you pass him the mirror to show him the many pigtails you've made on his head.

•° speaking of laughter. HE LOVES YOURS. He would die to hear it one last time. Let's be real, he's not the funniest person in the world, but he puts his all into putting a smile on your face, accompanied by the melody of your laughter.

•° he obviously has a praise kink, tell him how good he was at something: school, missions, even the silliest one and you'll immediately notice the blush on his cheeks.

"Izuku, baby, you did so good today on patrolling. I'm so proud of you." you praise him while placing your hand on his cheek.

"t-thanks, baby. You d-did good too." He's literally pout in your hands.

•° PDA is scared of Izuku. he loves showing you affection both when it's just the two of you, and outside, no matter where you are. Kisses, hugs, arm around your waist, your head resting on his shoulder. He doesn't care if anyone is watching you.

•° it might not seem like it on the surface, but ohh HE'S A JEALOUS JEALOUS JEALOUS BOY. Despite his puppy-dog appearance, he wastes no time when someone stares at you for a few seconds too long to put an arm around your shoulders and turn you towards him, so that he is your only view. Not to mention when they hit on you.

"so, you free tonight, pretty?" a boy a little older than you leans against the bar counter where you're sitting at.

"sorry, but I'm not interested. I have a boyfriend." You try to dodge him off.

"oh, c'mon." He reaches for your face "I don't see him around". Before he can lay even a finger on you, a hand slaps the boy's hand away, and based on the look on his face it must have hurt.

"you didn't see me, but bet you felt that." He couldn't leave you alone even to go to the bathroom, ugh.

•° his only reasons for living are two: to become a hero worthy of being called such and...you. He worhips you so much, you're a goddess in his eyes who can do no wrong. You're just out of this world for him, not real.

•° SUBMISSIVE!! Oh this boy is the definition of submission. In bed he becomes a real mess for you, the control is yours and you can do whatever you want with him, he won't say a word, don't worry.

•° he's the kind of guy who gives you little gifts almost every time you go on a date, or rather every time you see each other. It could be a bouquet of flowers, an origami heart, etc...

[c-is-for-circinate]

It feels like there's this narrative that fandom keeps wanting to explore, with Steve Harrington, about this very specific type of martyrdom where self-sacrifice is an expression of a lack of self-worth. And, like, yes, write the narrative that's meaningful to you, and yes ok Steve does admittedly get beaten up a lot, but -- legitimately I do not think this narrative is actually Steve's story.

Like, without gendering things too much, there is something in the Steve fanon that I keep seeing that's so reflective of the specific kind of sacrifice and societal pressures exerted on girls, specifically -- this story of 'you make yourself worthy and worthwhile by carving pieces out of yourself', of believing that you must always give and never receive to justify the space you take up in the world. Yes, boys can experience this same pressure (and obviously trans and nb people of all genders run into it as well! sometimes a lot!), but especially in the mid-1980s cultural context where Stranger Things takes place, it's just...really not likely to be a dominant narrative for Steve to be operating under? It doesn't even really match the Steve we see on screen -- who is happy to make sacrifices for the sake of others, yeah, when needed, but who's not particularly kind or giving unless somebody asks first.

And Steve does get hurt a lot on other people's behalf! And this is a problem! It's just a completely different problem than the one fandom keeps writing.

Steve, and I'm going to say this forever, is a story about toxic masculinity, which the show may or may not even know it's writing. The archetypes influencing Steve's character as it shows up on the screen (and the stories and messages that Steve would actually be surrounded by in his actual life) are not deconstructions of suffering heroes who never should have had to fight in the first place and were destroyed by it. That's the Buffy the Vampire Slayer story. Steve's not Buffy. Steve's cultural context is Indiana Jones.

Steve is The Guy! And part of being The Guy is that you're expected to take the hits -- not because Steve is less important than the women-and-children he's supposed to protect, but because, the story says, he will get less hurt. Why should Steve get in between Billy and Lucas? Because Steve is an eighteen-year-old athlete and Lucas is in middle school, and of the two of them, Steve actually stands a chance. (And yes, Steve got badly hurt there, and Max had to save him -- but if Lucas, if Max had taken that beating they would not have been running through those tunnels later.) Was somebody else better-qualified to dive down to the uncertain bottom of a cold lake in the middle of the night? Steve doesn't list his credentials there as a way of justifying some ideal of martyrdom; he is literally the most likely person on the boat not to drown.

And make no mistake: when Steve's pulled into the Upside-Down, he survives the bats long enough for backup to get there. Realistic or not, he's apparently tough enough that he's physically capable of hiking barefoot through hell without much slowing down. Steve is the tank for the same reason as any tank: because he literally has been shown to have the most hit points in the group. You cannot honestly engage with Steve in this context without dealing with the fact that he's right.

AND THIS IS A PROBLEM! This is still a problem! But it's not the same problem that fandom seems to expect. It's not an expression of caretaking or the need for self-sacrifice; it's not an issue with Steve valuing himself less. It's an issue of toxic masculinity so ingrained that Steve doesn't even recognize he's suffering from it, because one of the tenets of toxic masculinity is that Big Strong Guys don't suffer. It's just a concussion, it's fine, he'll walk it off. It's not that Steve thinks he deserves to get hurt, or even that he's less deserving of safety than the others. It's that absolutely nothing in his cultural context allows him to admit that he can be hurt in a significant way.

There's still so much tension that can be gotten out of this situation, I swear. There's so much that can be explored in writing! Hell, the show itself is deconstructing some of this trope, believe it or not, by giving us a Steve who absolutely can take all the hits thrown his direction but still doesn't know what the fuck he's doing with his life. It turns out that doing his job as The Guy is only mildly helpful in horror movie situations (mostly by buying time for smarter, squishier people to do the damage from behind him), and somewhere a little worse than useless in everyday life.

But Steve does not go out of his way to self-sacrifice, he really doesn't. He just does his job. He's The Guy. Of course he's not going to let a kid or a girl or some scared skinny nerd who just learned about monsters yesterday take the hits. Of course Steve's got this.

[iamnmbr3]

I feel like Harry and Ginny both like the idea of each other rather than actually knowing each other. To Harry Ginny represents normalcy and safety - the life he longs for but may never have, the world where he has no special destiny and can just life a regular life and have a regular romance. He doesn’t really respect Ginny or bring her into his life or seek strength for her the way he does from Ron or Hermione or Luna. She’s an idea more than an actual presence in his life.

and for Ginny Harry is the Chosen One TM. This larger than life hero that she’s obsessed with being worthy of. The scene in the end of book 6, where she says that she always knew he wouldn’t be happy unless he was hunting. Voldemort just shows how much she puts him on a pedestal and fundamentally does not understand him as a person. That scene is also notable because she doesn’t cry, even though we learn later, she is extremely upset, but hides it from Harry - because she’s made her whole identity about becoming the person she thinks she has to be for him.

Also not to make everything about drarry, but this stands in sharp contrast to the way, Draco always understands that Harry doesn’t like his fame or the way that even though he literally saw Harry speak parseltongue right in front of him immediately knows Harry’s not the Heir of Slytherin.

Harry and Draco always just get each other on a fundamental level and see right through each others performances and masks. The opposite of hinny imho.

[maacbrem]

Vox Machina’s story is a tragedy just as much as a happy ending.

Imagine: you’re the twin bastards of a wealthy man and a dead woman and all you have in the world is each other; you’re the prodigal heir of your people on the same quest that took your mother and the very concept of power terrifies you but you have to learn to wield it anyway; you’re the son of a deposed warlord left for dead by your uncle, brought into an unknown world of kindness and faith by another victim of your family of origin whose death you objected to against all your upbringing; you’re the good-hearted daughter of a family of crooks and you struggle to balance the love of your goddess with all the ugly feelings of anger and doubt that haunt you; you’re the lone survivor of a massacre, you fled the burning corpse of the city you love and your own sister’s bleeding body in the dirt, when you sleep you dream of forge fire and blood and you cling to your name even as you know you’re not worthy of it; you’re a bard haunted by the song of your mother’s dying screams and when you make people laugh you feel a little less helpless so you resign yourself to being comic relief and convince yourself that being needed is better than being wanted.

And then bit by bit you come together by chance, and suddenly you’re not just you anymore, you’re a group. You start testing the waters of friendship, of care, of love in many forms. You kill for each other; you die for each other. The world keeps trying to crush you but you keep fighting back, and together you start winning, together you stop being outcasts and screw-ups and start being heroes. People look to you for help, for guidance, for salvation. You’re terrified of it but you’re together so you muddle through, and all the losses pile up but the victories are so much greater. Guilt is easier to carry across many shoulders, and vengeance is a noble pursuit. You’re winning. You’re winning.

And then you lose. You lose and you keep losing and you thought the Dread Emperor, the Briarwoods, the dragons were all beyond you but you managed it, you saved the realm and each other, but suddenly you’re in the Shadowfell and your friends are dying and Vax is gone -

You win. But there’s finally a price that you don’t want to pay. You’re the most powerful group of people in the world, wielding god-forged remnants of divine war and too stubborn to do anything but fight until the fighting’s done, but you still lose. He leaves you, willingly and with a clean conscience and an awful, cruel faith that you’ll all be okay without him, and there’s nothing you can do.

In this moment, at the absolute height of your power, you are useless.

Vox Machina is a tragedy because they rallied the whole world behind them and they won every unwinnable fight and in between all that they figured out how to be people who love and dream and build and lead and open bakeries and have cannonball contests and start families, but there was always going to be a cost. There was always going to be an end. Even as they move forward and live their lives they’re still a little bit stuck in their grief because they’re not used to losing. They’re unstoppable forces of nature but they were always going to meet an immovable object and none of them are really capable of accepting that because why would they? They’re basically gods.

[ginnymoonbeam]

I've been thinking about Great and Korn and what makes someone a good person. From what we've seen in episodes 1-4, Korn seems to have more worthy instincts and core character traits: he's empathetic and genuinely caring, he's responsible and tries to help people. But he is also a rich man attached to the trappings of his life, attached to meeting his father's expectations and protecting his family's wealth and name. And we see how those attachments have led him into doing bad, bad things. Not only running the underground business and closing his eyes to the price in lives it takes, but in his relationship to Tonkla.

It is chilling to look at what his relationship with Tonkla is like, now that we know it began as a mutual romance. If it had been transactional from the beginning, as I assumed up until episode 4, then at least it's honest and potentially fair. But Korn made promises to Tonkla, he loved him and said so, and then over time, bit by bit, he shoved him into the corner where he is now, a side piece and kept boy. That is how Korn treats him, showing up to fuck and then leaving at his convenience. Ignoring his calls - getting angry if Tonkla dares to demand his attention, getting angry at the idea that Tonkla would ask him to leave. It's so so clear that in his mind Tonkla is something that belongs to him, for him to use when he wants and ignore when he doesn't.

And if you think that this ultimate state of affairs shows that he never really cared about Tonkla, that the empathy he's shown in the past and toward Great is false, then I'm so sorry to tell you that people are like this. Someone can be genuinely caring in one area of their life and genuinely cruel, callous, and even abusive in another. It's actually very common. What we see in Korn is the way circumstances, and his own unwillingness to lose something as big as his fortune and his family, have over time worked to make the empathetic part of him smaller and smaller, the cruel and callous part larger and larger.

And then there's Great. Great seems to be, more than anything else, a coward. He goes with the flow, he doesn't challenge his horrible friend, his first instinct in every tense situation is to run away and avoid trouble. Very little moral fibre, very little natural concern for others. But he gets second chances. He gets to see the immediate, horrible aftermath of his cowardly choices and then he gets an instant redo. And he consistently makes better choices - sometimes even brave ones.

It's so easy to see how contemptible and haplessly destructive Great would be without those second chances. That seems, in fact, to be a lot of what this story's about. And so we have Korn, with the instincts of a good man, falling deeper and deeper into outright villainy, and Great, with the instincts of a base coward, being dragged by his fingernails into becoming something like a hero.

[therainscene]

It’s blink-and-you’ll-miss-it, but the Alan Turing poster really tells us so much about Will that I consider it to be a significant piece of foreshadowing for S5.

First, let’s dissuade ourselves of the notion that Will chose Turing for his hero project for nerd reasons -- Will’s preferred flavour of nerdery is escapist fantasy, not computer science. He doesn’t know what an IP address is and the first thing he thinks of when he hears modem noises is a movie he likes.

No, he chose Turing because he admires him for being a gay man who accomplished so much in his short life.

On one hand, that’s pretty heart-warming -- the fact he’s willing to identify with other gay men and look up to them as role models shows us he’s making good progress in accepting his identity. On the other hand, it’s heart-breaking, because Turing’s story is not a happy one -- he was caught having a sexual relationship with a man and forced to choose between jail or chemical castration. He chose castration.

I remind you: Will identifies with this guy.

Will is growing up under the twin specters of AIDS and homophobia and likely assumes he’s destined to die young too. He’s been abused and bullied so much, I imagine he’s heard and internalized it all: that he deserves to die, that he’s disgusting, that he’ll never be fulfilled in life.

So when puberty begins crawling its way inside him and implants those shameful desires that make gay men so worthy of abuse... he chooses castration.

For all the sad pining he does in S4, we never really see Will express desire for Mike -- he never checks him out or shows signs of nervousness when they touch. He behaves with perfect platonic decorum at all times...

...unless we consider That One Scene With The Hose.

Sexual interpretations of this scene are controversial, and I can understand why; we’re so used to seeing Will as this innocent, immature little boy that it's shocking to catch him fantasizing so lustfully, even though these sorts of thoughts are pretty normal for a 15 year-old. But I think that’s the point. We’re supposed to feel uncomfortable about this, because Will feels uncomfortable about it too.

He’s done well in accepting his identity, but he’s an absolute repressed mess when it comes to accepting his sexuality.

So, that’s what the Turing poster tells us about Will. Here’s where the foreshadowing comes in: Will is not the only queer-coded character to have been metaphorically castrated.

Henry’s experience bears striking similarities to Turing’s: he too was caught engaging in a natural but forbidden behaviour and forced by his government to undergo a medical procedure to suppress that behaviour.

His villain speech to El in 4x07, which is ostensibly about his powers, also reads very strongly as a scathing criticism of heteronormativity, and it’s covered in rainbow motifs.

The metaphor here is obvious: Henry’s powers are a manifestation of his homosexuality.

Which implies that Will’s homosexuality can also manifest as powers. They’re repressed because he’s repressed.

It’s not a coincidence that the sexual tension was through the fucking roof in the infamous sauna scene. Every time Will’s supernatural ability to sense the Mind Flayer triggers in S3, Mike is also nearby.

What’s interesting about Mike is that his queer acceptance issues mirror Will’s: Mike has a healthy relationship with his sexuality (he casually checks guys out and plasters his bedroom walls with posters of buff dudes) but he just can’t bring himself to accept what this implies about his identity.

Always with the symmetry, these two. They complement each other perfectly; one’s hang-up is the other’s strength. They have a lot to teach each other about being queer.

And as repressed as they are, I think they want to learn from each other -- Will lets himself get flustered when Mike flirts with him in his bedroom, and Mike hangs on to every word of wisdom Will shares with him in their heart-to-hearts.

Internalized homophobia is a powerful force, but their bond is so strong that it empowers them to fight back.

Henry’s powers symbolize his anger at being mistreated and his desire to take that anger out on the world... but Will’s powers symbolize self-acceptance and love.

So he isn’t just going to defeat Vecna with his powers, and he isn’t just going to get the boy: these two things are one and the same.

[actuallysaiyan]

could you do 1 and 16 from the prompts list for all might please? preferably small might but either form is fine!!

warnings: smut, suggestive themes, unprotected sex, Small Might has a monster dick, kissing, mentions of premature ejaculation

You were charmed by him the moment you met him. How could you not be? This was All Might after all! When he became a teacher at UA, you were there to help him out. And the more you two spent time together, the more you were falling so deeply for him.

You tried to hide your feelings for him. You really did. But it was hard when he made you laugh, was so romantic with you without even trying and just made you feel like an actual human being worthy of respect and love.

The minute you knew you couldn’t hide it anymore was when he walked you home one night and you could barely contain the butterflies in your stomach. You desperately wanted to invite him inside, but you were way too nervous. When you get to your door, Toshinori smiles at you warmly.

“I’m glad you let me walk you home,” he says. “This part of town isn’t what it used to be, so you needed a hero to walk you home.” He does a pose just for you. 

You giggle sweetly, the sound ringing in his mind and causing his heart to flutter. He does what he can to charm you and make you laugh. Then you lean over and kiss his cheek.

“I should thank my hero, shouldn’t I?”

With a little fumbling and coughing up blood, he manages to follow you inside your apartment. The minute the two of you are alone, there’s this tension that builds. It’s thick and overwhelms the both of you. 

Toshinori makes the first move, which surprises you. He cups your chin, pulling you closer with his other arm around your waist and he kisses you deeply. There’s this feeling of arousal and love that blooms in your chest when you kiss him back. It takes little time for you two to begin making out.

You love the way he sounds when he moans. It’s even better when he’s on his back and you’re straddling him. After lots of foreplay and making out, you know you’re ready to take him. Part of you wonders if you could ever truly be ready to ride him, especially when you pull down his boxers and see the monster that’s throbbing and leaking just for you.

He blushes and looks up at you, “I know I’m rather…endowed. But just…take it slow.”

You swallow hard and you guide the tip to your entrance. There’s a stretch as you begin taking him into you, but it’s the most delicious stretch you’ve ever felt. Toshinori grunts loudly, shuddering as your pussy swallows him whole. He hasn’t fucked in a very long time, and certainly he’s never fucked such a pretty young thing like you.

The minute he’s bottomed out, he doesn’t know if he can last long. He closes his eyes, whimpering and whining. The way your walls keep fluttering around him has him feeling very dizzy with lust and pleasure. Then he finally looks up at you with such a lovesick look.

“If you don’t slow down,” he moans, “you’re going to make me cum.”

Your cheeks are burning. Here you were, riding the former number one hero and you have him almost cumming prematurely. Something about that was so hot and so sexy, you were having a hard time containing your own moans. You lean in and kiss him sweetly.

“Then we have all night to have more fun.” Your words soothe him. He takes a few deep breaths and then he feels like he can continue.

With his hands on your hips, he slowly guides you to begin rocking your hips. He’s getting quite the eyeful too as you ride him. Your tits bounce up and down, making him slide his hands up your body to cup them. Your swollen lips are parted slightly as you moan. And your cheeks are so heated, giving you that very lustful look he loves when someone rides him. “Pretty girl…” he whines. “So pretty taking me like this…”

[the16thtower]

Wyll Ravengard fucking undoes me because while a lot of fans and the BG3 writers do him dirty, there's so much going on with his character that just isn't explored or elaborated on that is so fascinating.

I have a parent who functions as a pillar of the community in my hometown, who is incredibly competent and admirable, and who judges me harshly for supposedly making choices that ruined my life. It's really difficult trying to wrap your head around all the different layers of that kind of relationship and Wyll never gets to really address it properly.

If we think about what happens after he gets kicked out of home:

What does he get to take with him? Does he even get a chance to pack any belongings? He looks like a normal human for the most part when we first met him, so what did Ulder tell people? We don't know about his mother's side but is there any family or family friends he could stay with? Did Ulder poison the well with everyone Wyll knew by being upfront about the pact or did he lie and make up another equally damning excuse for exile? God, just the idea that Ulder looked his son in the face (freshly injured) and immediately threw him out is devastating. Wyll is so certain about the prudence of his father's decision when we met him but either:

This is a perspective he's eventually made peace with

His conviction in his father never waned

which both suck! Either his idol, his father, screwed up massively or he has so little concern for himself that it never occurred to him that Ulder's justification was shit. Ulder is the Duke of Baldur's Gate, with all the resources that grants him, and he didn't even try to contact an expert on demons to try and get more info on his son's situation? What the fuck! There's the whole bit with the Trials of Balduran about appropriate punishment that Wyll agrees with that he doesn't even think to apply to his own situation. It can really fuck you up having your hero, who you admire for the good they do for others, decide you're not worthy of that same good.

Wyll tries so hard to be a good person and to lead by example but never seems to see himself as an acceptable recipient of the grace and kindness he shows others.

Does Mizora just immediately whisk him off to different parts of the Sword Coast to start acting the part of the Blade of Frontiers? He's seventeen, homeless, no support network, and fighting monsters - I'm going to lose my fucking mind. That's ridiculous. That kid was already dealing with his father's intense expectations (from what Wyll describes, Ulder was raising Wyll to follow in his footsteps, which is a steep ask). He then suddenly loses everything, on top of the stigma of demon association - Wyll's mental health must have tanked at some point. Depression, anxiety, and PTSD are definitely on the table (plus phantom pains from the prosthetic eye).

Just thinking of this teenager learning how to drink properly with no one looking out for him, trying to numb things a bit, and just becoming a sad wreck every time. Just... there's so much there with Wyll having to grow up very quickly in very lonely circumstances. We know he has some acquaintances, like the tieflings, but who actually knows what's going on with him? Is he still shouldering his burdens alone? Is MIzora around bothering him or does she flit in and out of his life? He's in exile for seven years.

And he's still a romantic and an idealist! Unflinchingly, genuinely, with his chest! He endures! He becomes a hero. It's beautiful. He survives and cultivates his best qualities in the face of awful circumstances. Wyll has this intense sense of morality and will (pardon the joke) that never permits him to sway from the right thing, even with everything stacked against him. And it routinely costs him! It's so, so hard to do the right thing and he still does it because he simply can't see another outcome worth living through.

It upsets me a little that Wyll ends up doubling down on what a good person his dad is when they reunite - as if Wyll hasn't demonstrated infinitely more empathy and compassion for other people, even when it actively impedes him. He's good because he chooses to be good and seeks to understand, not because he's able to follow the standards set by other men.

This is not a particularly organised discussion but fuck, I love Wyll Ravengard.

(UPDATE: I've just made some edits for clarification since I didn't express myself well. Also, this is a game that requires hundreds of hours of gameplay so be kind if I don't know everything.)