#it is also the one that has the most superhero plot

[0aurelion-sol0]

So much to say, so little time... & motivation. X)

My thoughts on Will Byers has powers has widened over the years in a way that includes so much possibilities now that I don't know which one could come into fruition.

There's one particular outcome that I think would be interesting and that nobody has been talking about, at least to my knowledge, it's a Matrix type of situation which I think could explain some events back in Season 1 that doesn't fit with what we know of ST's rules (though they are fluid and subject to change in the show, let's not lie). I'll elaborate in a post right after that soon.

One outcome that I know will not happen is El or Henry type of powers, as in the same powers as them, at least most of them, I know he doesn't have those ones & should not.

But guys, the question is not "does Will have powers ?" Because he already has abilities anyway (Neck-sense, Now Memories & True Sight though that particular ability might be dormant since he isn't as directly connected to the UD as he was back in S2) and he had some of them or others before even being connected to the vines in S1 and even having a part of the Mind Flayer inside of him in S2, the REAL question is what exactly are those abilities and what can or could he do if he were to start training and/or learning more about them ? Additionally, where do they come from too ?

As for "Sorcerer", the title could mean many things and anyone; I do not know why but when I look at that title, it fees vindictive. Like someone is saying it to someone else but it's not used in a nice way. It could also be a Satanic Panic thing, as well as a codename for an object or a protocol. Or even the name of an experiment.

I wouldn't be surprised if it could relate to Will in some way given he is going to be the focus point or one of the focus points of S5 if you prefer, but it could be not something about a specific character like Will, El or Henry but something else entirely that's not a person.

It is episode 4 and usually, the end of episode 3 and episode 4 as a whole, finishes laying out the whole plot and shows us what the emotional story beats of the season are going to be. "The Body", "The Pollywog and Will The Wise", "The Case of the Missing Lifeguard", "The Monster and the Superhero + Dear Billy" and now, "Sorcerer".

No offence to y'all Bylers but Sorcerer is a whole different class from Wizard or Cleric in D&D

[everythingwasnormalhere]

« Freedom You Said? »

I'm gonna try to avoid big spoilers, as I plan to write longfics about this au sooner than not :3

The main premise is that some people (very few) are born with powers in this au, and there's a big hero organization, named Freedom Pals, trying to get to them as soon as possible, so they can avoid the evil ones doing... evil stuff

There are two main hero teams, that I guess will be interacting at some point (I don't have the whole plot thought just yet), which would be m4 and catg, since Butters is Prof Chaos there'll be more on him specifically too

The leader of the first team would be Mysterion, with the power of immortality. He was born with it, and learnt it was useful to protect his family. FP found him and recruited him, he's one of the few heroes with not only all expenses covered but also a salary, and with permission to see his family. Unlike canonical Kenny (and most Kennys I write), FYS Kenny's immortality is rather a regeneration thing, Deadpool style. As all my Kennys, immortality-caused chronic pain, yet he forces himself to ignore it - the way his suit is pretty tight helps with that a bit, too.

Toolshed would be in Kenny's team. He was recruited after a very bad accident (or was it?), which would have killed him on the spot had FP not done anything. He was one of those already superpowered people, with a slight ability to control metal, nothing too big or useful. Yet, FP had him on their lists before the accident happened, so they rebuilt his body, enhanced his powers, turned him into a weapon. All of his prosthetics are in materials he can control, which is very useful in fights. Another of these is placed on his heart, which he has to consciciosly make beat (or connect to a device at night in order to sleep), as if he stops FP will control it remotely, which is extremely painful to him.

Kite arrived to Earth nobody is quite sure when. He can use his voice to speak most human languages, but he's not the best at learning them, nor can he pronounce many things the way it's done (aka heavy alien accent). As soon as he got to this planet, FP were there to take him with them. He has a FP-assigned family, therefore he can meet up with them relatively often. Oxygen is extremely toxic to him, so he uses an air mask to breathe Earth air.

Cartman is from FP himself. Liane works for them, principally cleaning and making rooms comfortable. She needed money and badly, so she offered to do a little extra job, letting them create her a hybrid child. Cartman was the first successful hybrid by FP, which, combined with the whole superhero mentality, gave him a huge ego. He's quite an ass to his teammates and even some random people, but deep deep down, he's a good guy. He wishes to go by Coon, but his teammates don't allow him to, he goes by Raccoon instead. He's the youngest current hero.

Now onto the others!!!

Craig was also born with superpowers, in a relatively normal family. He wasn't aware of them until he turned sixteen however, having to take part in some weird family prophecy. Soon, FP was onto him. He's very much against being a superhero, he'd rather keep his nice and boring life but he has no other choice. His powers include shooting red energy out of his eyes ("they're not lasers!") and hands, super strenght, and short-distance flying. He despises all of it.

Tweek's powers were between an accident and not. He got struck by lightning, yet was left with no physical mark, and that got attention from FP. After several experiments and drugs, they not only made him immune (CANDY IF YOU SEE THIS THANKS FOR GIVING ME THE WORD YOU SAVED MY LIFE) to electricity, but gave him all storm-related powers. He's, however, not the best at controlling them just yet, and this whole thing increased his already tendency to panic about every little thing. His skin is so cold it burns to the touch, too; between this and plain comfort, his superhero costume is simply an slightly oversized sweater.

Mosquito was the one who inspired FP to keep experimenting with hybrids, which would later on cause Cartman's whole existence. At twelve, he was bitten by - typical - an infected mosquito, which caused his powers to appear. He has mosquito wings that allow him to fly however he wishes (it took him a long time to get there), and he sucks blood with two fangs he has, which he needs to survive. Other physical changes too, but these were the main ones. The FP doctors know damn well he has h-EDS, but they're unsure on whether it was caused by the infection or it was a preexisting condition - they won't let him know about this, though: he thinks it is normal.

[I haven't finished developing Fastpass nor Tupperware just yet, but I will share their info as soon as I do]

People out of these teams now!!!

Scott would be four years older than Mosquito, and he used to be his team captain. They were very close, both as friends and as student - teacher. He has diabetes type 1, and also superstrenght, which FP hasn't found any relationship between - yet he believes they are connected. Deceased.

CallGirl was experimented and given powers by a secret organization, making her a soldier since she was a little kid. FP rescued her, and finding her technology control powers useful, they made her a spy, having her find anyone with powers and get them into FP. She was Stan's girlfriend, and also the one to find out about his powers. They broke up after the accident, though. Stan is still the only one who exclusively calls her Wendy, even knowing about her identity as CallGirl.

Timmy has a similar background as CallGirl, but instead of technology control he received telekinesis and telepathy. FP is unsure on whether he's disabled because of the experiments, or because he was born disabled, nor Timmy wishes to answer. He can technically communicate mentally, but he much prefers to use an AAC device - will only communicate by TP, and reclutantly so, if it's strictly necessary. Such as Wendy, he works as a spy-informant. [Might be changed in the future, as I'm not sure I'm entirely comfortable with playing into this whole character trope]

Chaos is a villain, therefore, not part of FP, nor he wishes to be. He has had electric powers since he was born, shooting lightning out of his hands. His parents, afraid of and for him, had him locked in a closed room for his whole childhood, until he ran away - killing them in the process - when he was fifteen. He began recruiting Chaos Minions at sixteen, by suggestion of General Disarray, and now he has a quite big army. His electricity used to burn his hands, so now he has low mobility and control in them. He developed a pair of gloves he uses to increase his control over his powers and decrease their negative effects on his body. He got his eye injury from Raccoon, he covers it with an eye patch so the low vision he has in that eye doesn't distract him.

General Disarray joined Chaos soon after he became a villain. He lacks powers, yet he's extremely intelligent in all areas, principally technology. He built the virtual walls around the few Chaos things online, which not even CallGirl can tresspass. He helps Chaos make plans more often than not.

I think that's it lol :3 ask me any questions you have ✨✨

(was asked for this by @l-lawliets-pussy @northernparkservices @fleatomatosauce)

[oldtvandcomics]

Book Shout-outs for Pride Month #1:

Ever wanted a series of lesbian superhero romances, all stand-alone, but set in the same universe and building off of each other (think Phase 1 MCU)?

Hearts of Heroes series by Molly J. Bragg. They're more romance than superheroes, but once you know what to expect it's GREAT.

Scatter is about a US Deputy Marshal who gets promoted to work with the team around the superhero Focus. From the first moment on, there is something strange between her and Focus, but only when she accidentally time travels back to the early 90's begins she to realize that she may be Focus' mysterious long-lost partner, Scatter.

Transistor is about a woman who gains superpowers because the doctors forget to deactivate the supercomputer used in her gender-affirming surgery. It only really becomes an issue when an angry angel comes after her neighbour and long-term crush, very determined to kill her.

Aether has a disabled protagonist, who dies when the building blows up during an experiment. Luckily for her, her consciousness gets somehow preserved, and she gains extremely strong powers. Now she just has to stop the guy who caused the accident from doing it again...

Rhapsody isn't out yet, but based on the summary, it is going to go more into the dragon side of the lore.

[needlesandnilbogs]

The worst part about writing long aus is that you can’t infodump about it (without having to explain everything first so they get the context) unless you’re willing to make someone read 150k words

[sirwillby]

OH MY GOD OK OK I LOVE THEM SO MUCH LET ME GET MY KEYBOARD OUT OK

I will start by admitting I love Johnny Storm just so so much so the majority of my knowledge does pertain to him...

so right off the bat if we are talking fics, Traincat on ao3 has a TON of fics with both johnny and peter in them and while most are spideytorch they generally go into developing them both as characters as well as the plot

they also put the comics they referenced in the captions so you can go read them after!!

as for comics i watched a really good video like a couple months ago on them and i know i can find it in my history somewhere to link it

this guy did a great deep dive into that time reed was evil https://youtu.be/GL9bpWCUzDY?si=ov6xDqyqQFGiuRaj

comic issues they show up with that i have read semi-recently were

Amazing Spider-Man Digital #17

and

Civil War II: Amazing Spider-Man #1

and i'm in the middle of writing an essay i took a break from to write out this so i can come back and add to that list later especially because there is one im forgetting the name of that i know i loved

I know the movies are hit or miss for a lot of people but I thought Fantastic Four: Rise of the Silver Surfer was great for character development (i can write a whole separate post on that if you want it and give me the time)

I'll come back to this when i'm done working thank you for giving me the chance to talk about my favorite superheros

pspspsps fantastic four fans,,,, where could i mayhaps learn more about them? i want to include them in LoF (as like. background background background characters, not a center, and idk if they'll have a plotline. just mentioned and there, for the most part) but i wanna make sure i get it right. as far as i'm aware johnny storm is like 4 years older than peter parker? and i read like. one fic with them in it but it was spidey torch and i did not know what was going on i was just glad to be there

[arolesbianism]

Just realized I forgot to post these

[brckenbadass]

@freezegirl asked: headcanon question: is there a particular reason why maya fights crime as the blonde beauty instead of coining super[girl/woman/etc] as a name, beyond her being blonde?

( random headcanon questions (always accepting) )

maya went into this knowing she needed to do something to keep herself separated from her and 'aunt' kara. she went into this knowing there'd already be suspicions with a random kryptonian kid showing up, fighting crime. she knew she had to be smart and careful, in some ways at least. so chose to use a name that wouldn't be tied to her family. chose to forgo the 'super' moniker and use a name that would be unique to her and wouldn't have it as easy for her to be recognized as a 'super'. she chose the blonde beauty because, well, as said - she's blonde. and because it felt like a fitting enough name. and it was all done more so to keep suspicions from being raised amongst her dad and the rest of her family, less so than for the general public. that's also why she wears a mask. of course, it's also to keep her secret identity secret. but she has to keep it from her family too, so.

however, maya couldn't deny herself from having at least one little tie to her family, to her father, so that's why the 'b' on her costume in the same font as the house of el crest. thankfully, no one ever seems to catch on.

[allovesthings]

In my opinion, the butt jokes are incredibly incredibly tired.

So here are several fun facts about Dick that you can use for comedic effects/running jokes instead:

His hatred of Capes. Listen we are talking about Dick wore a yellow cape for 9 to 10 years in universe Grayson. The moment he changed his costume, he straight refused to ever wear a cape again, the only time he had to wear one, it was as Batman and it was very very frustrating for him.

You know that when he watched the Incredibles with Lian and Roy or Damian and Edna Mode came on screen with her hatred of capes, this was his reaction:

Someone else finally understand him. She instantly became his favorite character.

His tendency to put unknown substances/evidence in his mouth and being able to identify it by taste and his knowledge of what Heroin taste like (yep still not over it).

It's both impressive (the fact that he can actually identify something by taste alone is impressive) and gross and even his closest friends don't understand why he is the way that he is, Do we think it's the Bat training or do we think it's just Dick (tm)... I feel like it has to be just Dick, right ? considering everything in Gotham is a toxin of some kind ? How many heart attack do we think he gave both Bruce and the Titans with that ?

Dick Grayson namer of superhero things: Listen, I just learned that Dick named the Arrowcave and now I just kinda love the idea of a running joke that every time a classic superhero in contact with Robin has a goofy name for something superhero related, it probably comes from the 9 year old superhero who thought it sounded cool.

The Titans are never letting that go and Dick doesn't want to talk about it (but he secretly still really like the names, they were cool when he was 9 and pretty practical when you think about it, thank you very much).

Everyone has a crush on him (tm): Honestly it is pretty funny that everyone and theirs entire family have a crush on Nightwing (and also pretty consistent canon since Raven in ntt). The reaction of the batfam is annoyed because that's gross, it's Dick, theirs brother/son, and the Titans are amused (Donna, Vic, Garth and maybe Wally) or maybe sorta part of the people who have had a crush on him (Kory obviously , Roy, Raven).

You do need to be careful with that, but I think if you do the opposite of what DC is usually doing, you'll be fine.

Also you can also includes the disastrous first date with supergirl in that. She also had a crush on him and they date was so horrible that he considered changing superhero identity because it was so embarrassing (truly one of the greatest plot-point on Superman/batman world finest honestly and this series is genuinely my favorite modern/current series)..

His petty side when he doesn't like someone: Listen, Dick has a petty side, ask Helena circa Outsiders (2003), Talia (always), Jason circa the late 2000s (Morrison era) and Azrael (also always). When he doesn't like people but has to work with them, he is going to be a little shit because they have to know he doesn't like them. it's important. and the comedic potential of Nightwing, one of the most competent, known and admired hero of the community being so petty is excellent. 10 out of 10, I need him to work with someone he hates again just for the fun of it.

The last one is just an headcanon and do not have basis in canon as far as I know:

Sometimes, as an adult, Nightwing says Holy shit in front of a classic superhero and that superhero does a double take because they are so used to him saying Holy goly batman (and that include Batman).

[twilightkitkat]

Everyone knows that Deadpool can break the 4th wall. It's a large part of his charm: being able to directly address the audience and make popculture references that don't exist in the MCU.

It's a common gag in fanfiction for Logan to be slightly weirded out by this but to just let it go.

But can we talk about the implications of knowing about 4th wall? The potential?

Imagine Wade, knowing that he's trapped inside a story that nobody else is aware of. Knowing that his fate is in the hands of the storywriters and that if he doesn't perform well for the audience, his universe could cease to exist. Knowing that he's just a character and being completely alone in that knowledge.

Knowing that he's played by an actor. Knowing that nothing is really in your control. Knowing how your fate rests in the hand of corporations and money. (Knowing nobody is safe as long as they can be used to further your character development.)

He knows that there's a plot and the general rules of it. He knows that The Conflict can't be resolved that easily and when the end of the movie is coming. He knows how to tell narrative death flags.

He partially makes references to keep the audience engaged (to keep his existence renewed) and partially because it's funny to see everyone confused over a joke only he gets.

But every reference is trying to see if anyone else knows, too. He's throwing out the bait. (Trying to see if anyone knows that the world they're living in is fake.)

And everyone sees him as crazy for it. Schizophrenic, manic, insane. (And maybe he is. It's not like he can prove it to anyone.)

Wade assumes things about the world and they're generally correct. He knows the rules of the game, knows the writers, and has a razor-sharp intuition that has his allies questioning him sometimes (he knows popular tropes).

And so, when he realized that he was in a movie with Logan, he made a lot of assumptions. That they would have to work together. That they'd overcome their differences and grow closer.

But most importantly, he assumed the limits. Disney wouldn't make an openly gay character, would they? Deadpool is fine because he's a joke but Wolverine would never be seriously gay, even if he was queer in the comics.

So he sees it as safe to flirt and joke because it wasn't going anywhere. Being gay was funny to the target audience, but that was it. It'd never be taken seriously in a superhero movie. (Especially with characters as popular as Deadpool and Wolverine.)

Wade was either getting Vanessa or nothing. That was how the story was written.

So he never takes Logan's feelings seriously. He cared about him in a very family-friendly bro kind of way and that was it. He doesn't even consider the idea of romance. He jokingly flirts and spews innuendos, but they never went anywhere. Wouldn't go anywhere. Ever.

And Logan is confused because he thought Wade was attracted to him, yet he keeps brushing him off as friendly when he tries to be sincere. He one time legitimately shared a bendy heart straw with him by Wade's request and Wade just played it off as a bit.

And also, Wade keeps making references he doesn't understand. That nobody understands. And he'd chalk it up to saying random shit except Logan starting paying attention and it's all oddly cohesive and creates a singular story. It ties together in ways that complete nonsense doesn't.

And that's leaving out Wade's "intuition." How he makes comments about "tropes" and "cliches" like they're in a movie except that he ends up being right. Almost every time. It's like he can predict the future, but in a vague yet oddly specific way. Like he can see how things are going to go.

And sometimes, when Wade thinks Logan isn't paying attention, he notices how he mutters to himself in dread. And how something bad almost always happens after.

It makes him disturbed and painfully, achingly curious. What was Wade seeing that he wasn't? It could be that Wade was a secret prodigy, but that didn't seem to be the case? Some of this was too specific and far-fetched.

(All while Wade laments over the lack of agency in his own life, subject to the currents of the story while being painfully aware of it. He couldn't live a life of blissful ignorance like everyone else. It's like he saw a tsunami hurdling toward him—even if he ran away at full speed, the plot always caught up to him somehow.

Trust him. He'd tried to outrun it.)

[theerurishipper]

Twitter AU Masterpost

I decided to compile a list of my Twitter posts, and just put in a little summary of what goes on in each so anyone who wants to can find whichever one they want.

Now also on AO3:

Part 1

Damian bullies Bruce and Dick messes with him, Bruce simps for Superman on main and Clark and Damian take on a hater in the replies, Jason wants to be verified and his siblings bully him a little.

Part 2

A fan of Nightwing's gets a picture of him and Robin and Red Robin battle it out in the replies while Flash stirs up shit, Donna posts a picture of Dick and the Fab Five take on a hater, Damian texts Dick about his profile picture, a lucky Gothamite snaps not one but two pictures of Batblob.

Part 3

Nightwing posts a picture and the people of Bludhaven take the time to appreciate him, Red Robin reminisces about kicking Red Hood and Red Hood gets bullied some more, Batman posts a picture of baby Robin!Dick and everyone coos over it, Riddler questions how Batman got his Twitter handle.

Part 4

A warning is issued for Gotham vigilantes about Batman and Catwoman getting busy and Nightwing's trauma about this is addressed, the debate over Batman's sex life is put to rest, Talia issues a clarification and sets the record straight, Gotham discusses Bruce's emo era.

Part 5

Lex hateposts about superheroes and Bruce annihilates him in the replies, there's an investigation into the matter of Luthor's handle, a mysterious troll makes an appearance, Dick questions Clark, Bruce reveals his and Clark's shenanigans from Dick's Robin days, and a hater is given even more power.

Part 6

Lex is salty and Lois and Clark tear him apart, Superman posts a picture and is accused of plagiarism, Nightwing starts a trend, Babs takes issue with her overuse of coffee being questioned.

Part 7

Oracle and Red Hood reveal the story of why Joker is banned from Twitter, the people of Gotham reminisce about an old tradition, Bruce gets roasted by Alfred, Damian has a wholesome interaction.

Part 8

Damian bonds with Dick and gets trolled by Steph, Spoiler finally creates an account, Spoiler poses a question to the people of Gotham, Batman is bullied by his kids and a billionaire.

Part 9

Spoiler gets a present, mistakes have consequences, Red Robin questions Nightwing's decisions, a resident of North Dakota has a life changing experience.

Part 10

Some well-meaning Gothamites stand up for Red Hood and Oracle gives a history lesson, an old face makes a less than triumphant return, the fab five have some fun, a relatable photo of Batman reveals something more and a new player enters the picture.

Part 11

Harley Quinn beats up Joker, Flash is disgusted by Nightwing, Batman's hypocrisy is revealed, Superman has some fun at Batman's expense.

Part 12

Black Canary fondly remembers a better time, Green Arrow confronts Batman, Green Arrow issues an apology, Oliver schemes and plots, a well-kept secret is finally revealed.

Part 13

Arsenal reveals a personal secret, the people discuss some new revelations, the fab five weigh in on Arsenal's problems, Nightwing takes a stand.

Part 14

The Gotham villains share some opinions, Two-Face and Riddler have an argument, Flash finally picks a side, Green Arrow evades responsibility.

Part 15

Some observers share some hot takes, the Superfam witnesses a breakdown, Lois asks Bruce for help, Dick puts an end to the ongoing feud, everyone starts to move on.

Part 16

Deathstroke shares a story of a failed assassination, someone loses their Twitter privileges, the Court of Owls tries to recruit Nightwing, Talon gets more than he bargained for, some very recent history repeats itself.

Part 17

Bruce is a meme, The League has some concerns about their monthly budget, Nightwing's personality confuses everyone who knows him.

Part 18

Bruce's mistakes reveal his most defining character trait, an early present for Superman causes chaos in the present, Superman's reactions to the goings on lead to some pleasant destructive results, Bruce's inability to understand memes is discussed

Part 19

Red Hood shares an embarrassing opinion, Red Robin starts an argument, Superman wins massively, the superhero community can agree on one thing.

Part 20

The villains discuss their least favorite Robin, Nightwing defends his pettiness, Red Hood endures some misplaced blame, Tim explains his masterful plan, Jason finally gets a win.

Part 21

The Court of Owls is humbled, Nightwing's friends face a problem, a culprit is found responsible, Arsenal gets in hot water.

Part 22

One of Bruce's childhood obsessions is revealed, Riddler tries to call out Batman and runs his mouth online, Riddler issues an apology, the Wayne kids' comments about Bruce eccentric habits reveals their own inadequacies.

Part 23

A tweet is posted by a concerning individual, the heroes find a surprising ally, Superman is the victim of a prank, Superman fires back.

[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.

[gossippool]

so i do think it's very interesting how, at least from what i've observed, people see/depict worst logan as kind of different from the x men logan in terms of their propensity for violence, or rather how this violence is released. i think it has to do with a couple of things:

as many have pointed out, wade is the only one who has ever been able to match him in a fight. so it makes sense that people would headcanon their relationship as involving fights on the regular. but also;

most of what we see from him in the movie is him fighting, and so we assume that he has a tendency towards it, especially since the past he's trying to escape from is exactly that: him being violent towards others, including those who don't deserve it. i think this has definitely subconsciously shaped some people's perception of him in some way.

but i think it's good to remember that what we are shown isn't proportionate to who he is, because the movie necessarily can't develop his character much outside of the plot. i don't think worst logan and x-men logan are different at all in the sense of x-men logan being "gentler", because not only have we just not had the chance to see worst logan act otherwise, but x-men logan also has this same animalistic violence in him. we can see how quickly he unleashes himself in the movies when the situation calls for it, and even when he's doing it to protect, there's still that rage underneath it all.

worst logan is violent towards wade because 1. he's projecting, and 2. wade can take it. but also it's a symptom of something else that he hasn't worked through, possibly decades of trauma he hasn't worked through. i'm working on a fic that explores this rn, but my headcanon is that his post-x-men rampage was a sort of addiction for him because of the release it gave him, which he then replaced with getting shitfaced, and finding someone who could take him in a fight (wade) could be a reversion to the former addiction if he doesn't work on it. (i think that especially with superhero movies, it's so easy to brush off violence as just another normal thing, but realistically, a failure to unpack all that baggage could escalate his problems into something way worse.)

so imo i think worst logan is practically the same, if not very similar, to x-men logan, just that he's a variant that was dealt the worst card, but we interpret his character differently because all we're shown is what he became because of it. we all know logan is gentle with his lovers, and i think that unless wade shows that he enjoys it, logan would not be violent towards him just because wade can take it. just because you can doesn't mean you should, and i think he of all people would understand that

[blazethecheeto]

DON'T LEAVE THIS IN THE TAGS HELLO

the sad part is they brought up such amazing plot points for caitlin after s4 and THAT'S WHEN SHE JUST STARTED TO...NOT BE IMPORTANT TO THE SHOW???

ugh i forgot about the blood on her hands, which reminds me about amunet and how frost was working for her in s3-s4 time skip.

like hey do you know how absolutely incredible an episode would have been about them navigating the criminal world together? because by this point frost was her protector but caitlin tried so hard to push her away. so imagine while frost is on a particularly gritty job, in a fight or talking to amunet about a deal, and caitlin just fronts unexpectedly.

and she sees the blood on her hands. she was working as a bartender one moment, and woke up surrounded by gang members. she would have been terrified. she would have been confused.

i mean the amount of times that could have happened, OR the opposite. she fronts right after the danger. she doesn't know why she feels sore. she doesn't know what frost has done. she doesn't know frost is doing it FOR them.

the guilt and fear cait must have felt, because she was alone and she thought she would be forever.

anyway that's just one example of my brain going into overdrive whenever i think of potential caitlin plots and it makes me so sad and makes me wanna write fanfiction lol

hey hi this might just be my obsession with her but hey. what happened to caitlin's screentime. i miss her. i miss when she had relevant plot and the writers cared about her and didn't just show up to say some science exposition then disappear for another two episodes.

i thought she was one of the main characters. LIKE SHE IS. it just feels like they forgot almost every plot point they have with her until the next caitlin centric episode. whcih gets more and more sparse each season.

s6 was actually brutal, she had virtually no screentime or episodes, it was all about frost, which i get that they wanted to do something different, but caitlin shouldn't have been completely pushed aside. like, i feel like after s4, they didn't know what to do with caitlin. if she doesn't have a love interest or her storyline with frost, they have no idea what to do with her plot.

so they don't include her at all.

WHICH PISSES ME OFF? BECAUSE THERE IS SO MUCH. SO MUCH POTENTIAL FOR CAITLIN STORYLINES THAT DON'T INCLUDE FROST.

those brief, beautiful moments where she gets a chance to shine or have her angst, like when the flashbacks showed her getting fucking run over??? by her dad?? which she repressed for 20 years??? and that's not good plot material for the writers??

in 7x08, when caitlin just breaks down because she doesn't want to live a life without frost?? 2x22 when caitlin thinks she sees jay everywhere and is terrified?

they have an actual goldmine of a character with built-up plot and lore and angst and personality and she's literally my favourite flash character ever and they just. push her aside.

they have deleted scenes of really good caitlin stuff with danielle acting her ass off and they just scrap it because hey we actually wanna see more of another wells or cecile or allegra or whoever they decide to focus on today :3

guys i promised myself this wouldn't be an anti-flash rant, istg im just so sad. i love caitlin. i love frost. i love their storylines.

it just sucks the show doesn't seem to think they matter.

[bestanimatedmovie]

Choose your favorite!

Vote in the other polls!

What fans say:

The Lorax:

Spider-Man: Into the Spider-Verse:

It had a very big impact on meme culture. And a really catchy soundtrack. Plus it has the silly sexy green man. What more could you want from a film.*

The Once-ler and the let it die song. This movie is glorious.

It is legit the mother of all great animated movies nowadays. From Mitchells vs the machines to the new mutant mayhem movie! The plot is so good and you can really see character development from almost all of the characters, plus the designs are BANGER.

THE MUSIC?? TOP FUCKING TIER. THE CASUAL DIVERSITY? IT ALSO HAS LITERALLY THE BEST SHOT IN CINEMATIC HISTORY (Miles rising after taking his leap of faith)

BRO THE ANIMATION IS SO SICK. The amount of sheer effort put into this movie is insane. The character growth was so amazing to watch and such a great movie to analyze. Best scenes are obviously the leap of faith. Actually gorgeous. And also the scene where aunt May sees Peter b after her Peter died. Her “you look tired, Peter” is just so heartfelt

Where the hell do I even start. The visuals are incredible and the plot is engaging. Every scene is perfect.

This film has EVERYTHING. Humor, action, inspirational scenes, kickass music, absolutely killer animation, an art style that is an homage to comic books, loveable characters, a talking pig, DR OLIVIA OCTAVIUS, I could go on

This is the best superhero movie ever made, the leap of faith is one of the best movie scenes of ever

The animation style is better than all the others, and makes the movie funnier too! The representation is also good, and the romantic storyline isn't too prevalent in the movie. Probably the best animation Marvel has made. My favorite scene is when the villains show up to Aunt May's house -- its my favorite fight scene!

I’m sure this movie’s been submitted already because it’s arguably the greatest animated film of all time. I have a personal connection to it because I saw it in theaters on opening night with my late father, and we both loved it and I still do. The animation is revolutionary and it’s one of the only 3 movies that make me cry.

gsksvbsvsbsvs I love everything about it, I love the animations, the story, the soundtrack also the style of animation AAAAAA its so beautiful its art it belongs in a museum i get goosebumps everytime I rewatch it

It’s just so good. All the characters are amazing and I love Miles dad. It’s hilarious and sparked my love for spider-man. It’s such a sweet movie about finding yourslef and has such a powerful message. I totally recommend it so I’m not adding spoilers, but like. Ohhhh, it’s so good.

Interesting villains, well-developed character arcs, a fresh take on Spider-Man, unique use of animation, funny, good use of multiverse that adds to the nature of the story being told, complicated character dynamics

It's the best animated movie because A: it takes one of the most well known comic characters of all time, kills him off in the first few minutes, and then shows you every cooler version of him. B: Has a large amount of representation in its main cast, considering that they're all versions of Spiderman, and that requires a white guy by default. C: everything in it is so well done I can't pick a favorite scene, but the most iconic is the jump off the skyscraper window.

The animation is incredible, the movie has so much story and heart, and there’s a perfect balance between humor and seriousness. And the soundtrack slaps

This is probably the best animated film I've ever seen. The animation is definitely the highlight, the way they blend comic book art styles and 3D animation is an absolute joy to look at and is so overwhelmingly creative, every frame of this movie is gorgeous. The impact this had on the industry is undeniable, as we start to see more and more movies getting more creative with their animation styles. It's not just the animation though. All of the characters are entertaining, all of the jokes land and the story is really well done. It leaves me blown away every time I watch it.

This movie kind of changed the western animation industry from the ground up. Apart from being expertly written, funny, and heartfelt, it is also stellarly animated, with a unique visual style that takes direct inspiration from the comic books it adapts and mixes 2d- and 3d-animation in a way and to a degree that hadn't really been seen before in western mainstream. Its critical and monetary success paved the way for mainstream 3d animation to open up to new and excitingly stylised movies that were like a breath of fresh air between the generic Pixar-style animation that had been the largely unchanged norm in the industry since Toy Story circa twenty years earlier**. ITSV divides the screen like panels on a comic page, it uses dots and lines for shading and gradients, doesn't shy away from lowering framerates for stylisation, and makes liberal use of onomatopoeia, both to comedic and dramatic impact. Impact frames and SFX are often hand-drawn and stunningly colourful, and even the simple dialogue scenes astonish with an expressiveness and realism in their depiction of emotions that makes me rewatch a two-second scene of Miles laughing fifteen times in a row. My favourite scene has to be the What's Up Danger scene, the emotional climax of the movie. Set to an absolute banger of a song, it is the moment the entire film has been building up to. I won't spoil anything plot-wise in case you somehow haven't seen this movie, but both from an emotional and a visual standpoint it is Fucking Dope. Conclusion: Spider-Man: Into the Spiderverse is my favourite movie of all time and I could talk about it for hours. If you haven't seen it, go watch it. Thank you.

Have you SEEN the Whats Up Danger/rising and falling scene? it's a work of art that makes me fall in love with storytelling all over again whenever I see it. Also the impact that it's had on animated film is absolutely being felt at current, if incrementally. Incredible film.

It has an amazing art style based on comics and mixed up due to genre differences. It's really fun and the characters are great, even the side ones. The story line is great and I love Miles and his family.

*Mod note: errr, quite a lot more than memes and music actually

**Mod note: amen

[btsmosphere]

Supercharged | JJK

Chapter 1: the Light Dies

masterlist | next

🗲summary: It starts with a blow to the chest that changes your life. When your city’s most celebrated hero pays a visit, it turns out the noble Bolt has no trouble tossing lives aside. Lives that won't be missed. Lives like yours. Seven mysterious and powerful men give you another chance – one that starts to feel more like a curse the moment you meet golden boy Jungkook. The boy who wants you as far from his brothers as he can get you. Is it you he hates, or the blue lightning that now runs through your veins? And could it be his golden light that illuminates your heart when darkness threatens? 🗲this chapter: He’s the hero. Unfortunately for you, you’re not the villain.

🗲pairing: jungkook x female reader 🗲word count: 6.6k 🗲genre: angst, action, eventual fluff, enemies to lovers, slow burn, superheroes/villains au, it’s sorta like a mafia au but they have superpowers lmao 🗲rating: pg15 🗲warnings: violence with superpowers, minor character death, attempted murder, injury, loss of consciousness

a/n: I have to say thank you to @casuallyimagining and @bluewhale52 for betaing this chapter, although this might come as a surprise to them since that was maybe 3 years ago now?😅I'm really not sure how much my writing had changed since then, but you guys can be the judge of that as the future chapters unfold! In the meantime, enjoy! If you want more supercharged in your life, you can also search my supercharged tag to find some musings, rambling, gifsets and visuals etc that inspired me and kept me going while I lost my mind over this story!

Lastly, I present the supercharged playlist✨ I had a lot of fun making this – several songs align with plot events, while some of them are there for the title, the vibe, or even a single line! Feel free to guess which are which or come and chat with me about it👀

An ear-splitting roar was barely contained behind shuddering steel doors. Just down the corridor, your fingers still clicked away, unperturbed, at your keyboard.

Tapping your foot, you looked impatiently up at the clock as another thunderous bellow assaulted the air. If the full-length windows weren’t reinforced by your boss, Kuyang’s own design, they would be rattling in their frames.

Blowing to rid your face of a strand of hair, you returned to your work, not even sparing a glance towards the source of the racket. It was only around half an hour until you could leave work for the weekend.

Finishing your task, you turned to filing the correspondence on your desk as a few yells carried through the air, mingled with the monster’s uproar. Bills and business deals the lot of them, you tucked them away in their respective places to be dealt with next week – only to stop on the very last one. How many times had the postman ignored the very clear sign for no newspapers?

You supposed the city felt the need to remind everyone that there was some semblance of central control – not really of much concern in a workplace such as yours, mind. Glancing across the front page, you realised why. You didn’t have a tv at home, but you would have to live under a rock not to recognise your city’s most celebrated superhero. Bolt, the media’s beloved, had claimed another victory against some crazy start-up trying to build their own bombs downtown.

The hero’s blue-masked face grinned confidently up at you from the desk, while police led what looked to be two scruffy teenagers into the back of their van. But Bolt’s vivid presence eclipsed them in his suit that matched his bright eyes.

Not bothering to read further, you pushed the paper into the waste bin at the end of the table.

Just as you were tucking away the final bits of paper, your boss emerged, wiping his brow on a cloth that looked as dirty as his face. Smiling pleasantly despite his ruffled state, you rotated on your chair to face him.

“Frank’s all good and sleepy now,” he said, “if you could get him sent up to the chamber.”

“Sure,” you nodded, already getting up and straightening your jacket.

With nothing more than a weary nod of appreciation, he left for his private laboratory. This was through a series more armoured doors, to which only you and a small number of lab workers knew the codes.

He was a scientist. And you were sure he was unhinged, but the job paid well, so that was all you concerned yourself with.

In fact, you had got very lucky. You had been surprised when such a good position had become available and quickly given to someone as ill-qualified as you, with no references to give. But your lack of connections seemed of no concern, and here you were, finally making ends meet and no longer in fear of being turned out of your run-down apartment at the edge of town.

So you did your job as well as you could, worrying yourself over nothing except pleasing the odd man that was Kuyang.

Even so, it was still a little daunting each time you had to come face-to-face with one of his experiments.

Reaching the steel doors that had not long ago been seriously threatening their hinges, you took a breath. Holding your thumb over a scanner by the door, you plastered a confident smile on your face as you walked inside.

Affectionately dubbed ‘Frank’, a great lump of teeth and dark furry flesh several times bigger than you was sleeping in a pod at the centre of the room. Surrounding this were multitudes of screens showing graphs and readings you couldn’t hope to understand.

At the edges of the room, a smattering of other workers were slumped against the stainless steel lab walls, almost as rumpled as their boss had been.

A hulking guard, Taeyeon, stood near the entrance, and you quietly confirmed with her that Frank was under and secure. Nodding, you gestured to Taeyeon’s team, another man and woman with the same uniform and intimidating stature.

Together, you assembled in front of the tank that held Frank, Taeyeon typing authorisation into one of the computers. The others locked down the external doors, just in case.

Though it was a familiar sight by now, the opening of the pod always prompted you to run through your training. If you hadn’t read it in the documents you dealt with, you would not have known Frank was also known as Necrus X, a new prototype Kuyang was working on, although you could not imagine what for.

Kuyang had been sure to tell you how to knock out the creature if it ever came to it, though. There was a spot behind his ear, which was more of a ridge at the side of his enormous head.

With the pod open, a panel rose from the floor, taking Frank rotating upwards. You caught sight of the patch behind its ear, zeroing in on it. Just in case.

The smooth expanse of ceiling split then, a hole revealing itself as the roof shrunk away into the walls, leaving a clear path for Frank to rise to the next floor, where he was stored.

As effortlessly as the ceiling retreating, a smooth steel staircase emerged from the walls. You and Taeyeon climbed it, spiralling around the edges of the circular space until you drew level with Frank, now snoring on the upper floor. Here, the space was wide open like an empty art gallery, half the walls comprised of expansive windows, no lab equipment to be seen.

The floor closed up beneath you both and you walked around Frank, opening a secret panel in the wall. As before, you raised your thumb to a blank scanner – but got no further.

A deafening smash sent you crouching to the ground in panic. Livid blue painted all the walls in the space as shattered glass skidded across the floor.

You had thought that glass to be unbreakable. At least that was the intention. But when you turned, you were forced to believe your ears: the central panel of glass was completely blown in, all the others down the row cracked from the force.

At the same moment the glass had shattered, you could suddenly hear what before had been hidden behind soundproofing. Outside, there were shouts, screams, car horns and alarms blaring from every angle – and above all, sirens. Sirens wailing through the air like disembodied banshees, descending, apparently, on your building.

Shuffling along the floor, you peered past the sleeping mass that was Frank in front of you. Walking across the room was a man in a tight blue suit, the same hue crackling in the air around his hands.

Bolt.

Mind short-circuiting, you were frozen. What should you do?

What was Bolt doing here? Was there some kind of threat? The image of him should have brought you relief, even though you knew nothing of what the danger was, but you hesitated.

Only having the presence of mind to shrink back silently behind Frank, you looked between the beast and the control panel you had abandoned. But you had no more chance to move before a fearsome crack ripped through the air, another flash of blue, sending the hairs on your arms bolting upright.

Spinning back to face Frank, you were met with a thump. A body, falling onto the floor.

Though she was mostly obscured by Frank’s sleeping form, you stared in unbelieving horror at Taeyeon where she lay, unmoving. Breath accelerating in your throat, you moved at last, scooting yourself back and away. Closer to the wall.

First you lunged to sound the alarm, mounted inside the wall panel, which instantly lit the room up in throbbing red, blaring loud enough to drown out the sirens outside. Then your hand was fumbling across the scanner. You had to get Frank locked away.

The walls of the pod which safely contained Frank overnight began to descend, much too slowly for your liking. Whirling to face the room, your heart seized in your chest when the imposing figure of Bolt, now shaded purple by the red light, met your eyes.

A glance up at the descending walls. They were halfway to the ground by now, but you still had to enter the code to lock them down.

Bolt yelled for you to stop, barely audible over the dizzying noise of the warning siren.

As he strode towards you, you could only watch, pressing yourself desperately against the wall as if it could swallow you up.

Bright light cut through the imposing red as the heavy door at the opposite end of the room was thrown open. Bolt stopped, both of you turning to see Kuyang enter. His hair was still sticking up from earlier, a strange expression on his face that you hadn’t seen before.

Paying no mind to the maniacal smile that had no place on Kuyang’s face, you took the moment of distraction to scramble for the code lock.

Without a sound, the gap between the floor and Frank’s pod closed, and your fingers were already leaping to action, typing the numbers behind your back at lightning speed.

Kuyang was running now, a direct path towards Bolt. But Bolt turned back towards you.

You were nearly done, but his hand was raising towards you…

In a split second, your fingertip met the final key of the code. Almost instantly, it was ripped away as shocking blue light cut through the air. You felt the impact before you could even notice that it was aimed at you.

Hitting you square in the chest, white hot pain scorched through your every nerve as your body was flung backwards, powerless as a ragdoll sailing through the air. The collision with the cracked window behind was almost lost on you. More intense pain was writhing its way down each limb, making you cry out, uncaring about the rain-spattered wind that whipped about your face now.

But you could see shards of glass as they fell along with you, like daggers aimed at the ground.

Biting wind rushed in your ears, the sound crashing over you like waves. And just as a pan sizzles down off the heat, the ferocious attack of pain seemed to reduce just as fast as it had invaded you.

Your heartbeat was the loudest thing, booming over the insistent web of sirens and whistling air.

Breathing choppily, you screwed your eyes nearly closed, suddenly aware of the tempest around you as you fell. Above, the already darkening winter night was illuminated with flashes of that awful blue.

You were falling.

It hit you then, as if you hadn’t been falling all this time. But it was only now that your senses caught up with themselves. You worked on a very high floor of the skyscraper, but as you were tossed around in the air, you saw the ground rapidly approaching.

A horror gripped your chest like nothing you had ever felt before.

Below you, and rushing towards you at terrifying speed, a skip sat surrounded by heaps of trash on the street. Unable to think, you could only shield your face with your hands, stretched out in front of you as if to stop the inevitable collision.

Though your eyes fell closed, you felt the jerk that flung your whole body backwards.

That wasn’t what you had expected.

Eyes snapping open in confusion, you found your vision lit with blue. In front of your face, blue light was shooting from your palms, pushing you up and away from the ground.

Your mouth fell open. Gaping in shock, you did nothing as the light died and you slowed again in the air.

Though you began falling much slower this time, you barely had time to notice your surroundings – much nearer the ground – before you were plummeting again, and this time nothing could stop you.

Your eyes weren’t even open when you felt your body slide off something. Not a second later, you were crumpling onto hard concrete which grazed your cheek.

You groaned.

It was dark. High above, any flashes of light didn’t reach you here, having landed in a thin alley beside the building. And though this shielded you from the commotion on the main streets out front, sirens still pierced the air, each one feeling like a stab to your head.

You clutched it as you maneuvered to sit. It took you a few tries, groping for a wall or something to lean against as you regained your balance.

Eyes cracking open, you waited patiently for the dark splotches to dispel before looking around.

Right next to you was a car which blocked you from view of the road beyond this alley. Evident from the dent that caved in its bonnet, that was what you had landed on.

Turning your head, you had to squint even more as light assaulted your sensitive eyes.

Among a blazing light, you could make out the vague shapes of rubbish bags and an overflowing skip that you recognised. Out of these, a vibrant fire was now burning. The correlation was too strong for you to ignore.

Breath shallow, you turned your horrified gaze to your hands.

They had done this… but how? They looked totally normal now.

Frowning, you brought them up closer to your face, so that your nose was practically buried in your palms.

No difference.

You were sure you hadn’t imagined that blue light which saved you earlier. Was there a way to make it come back?

While you were puzzling, you lowered your hands again, still staring intently as you rotated them in your lap.

Then, quick as a blink, a blue flash darted from them again. So fast, in fact, that you had no time to react before one of the bolts was fired directly into your opposite arm.

Snatching it away reflexively, you hissed in pain as a burning sensation crawled, tingling, over your skin there.

Despite the pain, the blue light didn't cease shooting from your hands. They tingled, a strangely uncomfortable sensation. It was as if something warm was wriggling its way up your veins and spilling from your fingertips.

“Stop! Stop!” you whispered in panic.

You turned them outwards, aiming away from you, but if they kept at it for much longer you were sure to draw attention.

Moving your hands around jerkily, the beams of light shook along with you, but did not go out. With each unsuccessful movement, panic made you more frantic until the glowing rays jerked erratically around the small space.

Straying too far, the light came into contact with a post at the alley’s entrance. You could only watch, helpless, as light like blue snakes skittered up it and latched around the wires it supported.

To your relief, the strange current seemed to have found an outlet, and only remained a second longer before cutting out. You were left blinking in the relative darkness. Panting heavily, you stared down at your hands, although you did not bring them too close anymore.

Once again, they appeared utterly innocent. There was nothing to suggest they had just channelled lightning through them.

Suddenly, the world plunged into darkness. The fire still burned at the other end of the alley, or you would have been left totally blind. In the building behind you, in the street, all the lights had gone out.

Almost instantly following the blackout, screaming rose again in the air.

Gulping, your eyes travelled to the blackened post at the corner, which you had accidentally electrocuted.

This was bad. Your head was spinning, both from your short, hard fall and from the whirlwind of events that had happened in what could only have been minutes. Surrounded by darkness, with the wail of the city and a fire for company, you could only see one course of action.

Run.

You had to get away from here. It wasn’t safe. You had little idea where was safe, but you couldn’t be here anymore.

It wasn’t like you had anyone to call who would care enough to come and pick you up. Nor did you have the money to try a hospital, though you felt as if you may need it.

But especially with electricity shooting from your hands at the drop of a hat, it probably wasn’t best to be anywhere around people.

The dizziness from your unfortunate landing on the car had worn off while you were sitting, but the world swayed anew the moment you made to stand. Pushing determinedly against the wall, you struggled on anyway, brand new dark spots in your vision offset by the brightness of the fire you walked towards.

This end of the alleyway led out through smaller streets, away from the city centre and furore of sirens.

On reaching the opening, you cautiously assessed the road stretching away either side. Empty. And if there was anyone there, they wouldn’t see you in this darkness.

Shoving your hands beneath your armpits on some misguided hope of keeping them from causing problems, you lowered your head and ran. It was more of a jog, considering everything, but you still moved as quickly as you could beneath the dead streetlamps.

Head throbbing more with movement, you stumbled a few times as you went. The pavement tilted around you.

You had made it a few roads before you felt that awful tingling in your arms again. It itched, like something fighting its way out of your skin.

Nausea rolled in the pit of your stomach. This couldn’t be real.

Slowing down and stopping beneath a signpost, you drew your shaking hands out in front of you. The world careened on its axis, revolving around the sight of your palms as a faint blue glow grew in them.

You were going to throw up, you were sure of it.

You wanted it to stop.

A few flickers of blue darted down the veins in your wrist. Towards your fingertips. Sparks leapt from them, small tendrils of lightning crackling between your fingers like webbing.

At last, you gave in to the rising horror mixed with a sick feeling. The floor’s spinning became too much, your hands turning to a bright blur in the centre of your vision.

You passed out on the spot.

Lights were turning on again around the city. Television sets flickering back to life to announce Bolt’s victory against the beast that had attacked earlier that evening.

But not on the street where you still lay.

The return of light only reached neighbouring roads, dim glow snuffed out before it could penetrate the middle of this street. A white-haired young man stepped forwards, but his face was totally obscured in darkness.

“Here,” he spoke to the silence.

The next moment, a deep red glowed in the middle of the road, though it brought little light. The red bounced off a signpost before it was gone, replaced by another man, seemingly from nowhere.

The newest arrival stood there, looking down at your figure, unconscious by the sign. Then he disappeared again, leaving total darkness behind as if he had never been there at all.

A few more moments passed, you and the hidden man the only beings on the dark road.

Not very long after, a car’s engine rumbled and sputtered into earshot. The bright beam of headlights rounded the corner, growing larger and shedding light on your form as it drew closer.

Pulling up next to you, the engine died along with the lights. Two doors opened and slammed shut.

As two pairs of feet stepped nearer to join the one remaining beside you, the streetlamp directly overhead began to glow. The faint glimmer grew until it illuminated the scene. Still no other lights joined it, leaving the small group of you lit up as if by spotlight.

“It’s her?”

The man crouching beside you asked the question without looking up, and the shadowed man answered.

“Pretty sure.”

“She’s breathing?”

“Yes.”

The crouching man hummed. Moving to kneel instead, his eyes roved over your somewhat battered face, dark hair obscuring his own.

“Namjoon?” he asked then, turning to the other man from the car. It was the same man who had momentarily appeared in the street earlier.

Taking his cue, the tall man, Namjoon, walked forwards and bent to lift your hands by the wrists. In just moments he was placing them carefully back, nodding.

“No doubt.”

“Okay then.”

“Can she travel, Jin?”

“Give me a moment.”

Producing a small object, he pressed a button and a small light sprung from the end. Carefully lifting one of your eyelids, he shone the light into it, observing like a doctor.

The first you became aware of was the far away sound of voices being quietly exchanged. But with the cloudiness in your head, identifying them didn’t seem very urgent. You were preoccupied with the swirling feeling that made the world swim around you, even though it was dark.

But as dim awareness was returning to you, the process of regaining your senses was violently accelerated as a blinding light was thrust into your vision.

You flinched, and as Jin pulled away he saw you blink, eyelids screwing shut in protest. His eyebrows raised in slight concern as he watched your first groggy movements.

Blinking around at the dimly lit figures over you, your eyes widened. The nearest man held the illuminated light stick. Was he a doctor?

Next, your eyes darted to the tall man standing behind him. You recognised neither.

Some strange feeling told you someone else was standing there too, but when you looked to your other side you were faced with nothing but empty shadow.

“Can you sit?”

The first man’s question was gentle, his hands ready to support you.

Nodding timidly, you heaved yourself up with his help. It embarrassed you to be panting after just that much movement.

“What happened?” came the next question.

As you replayed the events, you avoided their eyes. You could not let them know what happened, what you had become. They were helping you, and yet you might hurt them-

Fists clenching subconsciously, you stuttered in panic.

“I-I can’t pay,” you told them, but before you could say more a new voice was speaking. The standing man stepped forwards, his voice calm and surprisingly friendly.

“There’s no need to pay. We can help you. Can you tell us what happened?”

“I don’t, uh, I-I-“

His eyes travelled towards your hands, which you were trying to tuck behind you.

“You gained powers, didn’t you?”

You froze.

“I have them too,” he smiled, “I know what it’s like to be scared. But you can work with this and learn to control them. I’m Namjoon, and this is Jin. We’ve been through this before, we can help you.”

At your sides, your hands relaxed. Tension lifted from your tightly hunched shoulders. Wordless, you looked between the men who were watching you, ready to move, but only on your word.

Swallowing, a light frown creased your brow.

“What do you want-”

Namjoon’s smile dimmed into something kinder.

“At least let us check you over.”

Your hands fretted together. It was strange, you couldn’t feel anything there. Surely they should feel different? How would you know if these… powers, Namjoon had said, were to come back?

“You won’t hurt us, don’t worry,” he seemed to anticipate your thoughts as he watched you, “we can protect ourselves.”

“You were unconscious,” Jin spoke, drawing your perplexed gaze back to him, “did you hit your head?”

You blinked, but found yourself answering.

“I think so.”

Nodding, Jin shuffled at your side. He leaned a bit closer.

“I need to shine this light in your eyes again. You may have a concussion.”

Complying, you sat through the eye-watering brightness. He asked you things, like a doctor would, except he was working in the middle of an empty street in the middle of the night.

“Do you feel dizzy?”

“I did. I think still, a little.”

“Any nausea?”

“Yeah… but maybe because of the…” you gestured to your hands.

Jin sat back, taking the light with him. Namjoon shot you a sympathetic smile at that. You supposed he had been through the same thing, from the sounds of it.

Jin looked up at Namjoon.

“It looks pretty rough. Definitely a concussion, and she needs patching up, but in the long run she’ll be fine.”

“I-I’m serious,” you interjected, “I don’t have the money for hospital…”

Your voice faltered. You half thought of asking to just go home, but you were hardly sure of even making it there by yourself. And if you got there, then what? The prospect of burning down the place with these errant powers didn’t fill you with comfort.

“Good thing we’re not going to bring you there, then,” Namjoon said, “but I meant it when I said we could help. We can take you home, if you want… but you can stay with us, too.”

You stared at him wordlessly. Was it crazy that you were considering this?

“Just for a bit, if you need,” Jin added softly, “it’s just… now might not be the smartest time to be alone.”

You chewed your cheek. But your head was pounding too much to think very hard, and this seemed like the most straightforward option. The people in this city kept surprising you, after your first stroke of luck with Kuyang's generosity.

“Sure…” you spoke quietly, not quite able to look them in the eyes, “yes please.”

“Okay,” Namjoon took it in stride, “but let’s get moving.”

“Just one moment – we should wrap that.”

Gesturing towards your arm, Jin stood and went back to the car. On his return, he knelt again and began to secure cling film around the angry red blotch blistering your skin, where you had caught yourself with your own beam.

“We’ll sort it out properly when we get back,” he told you, “but Namjoon’s right, we should be going.”

You followed his gaze which seemed to dart up and down the street. However, nothing was there.

Jin helped you stand, still looking around. Sure enough, the dizziness from before hadn’t quite left you yet. Biting down on your lip, you focussed hard on getting the short distance to the car. You were led to the passenger seat and crumpled gratefully into it.

But just as Jin closed the door, you felt an uncomfortable prickling clutch your forearms again. Namjoon slid into the back seat in time to hear your gasp, noticing the way your fingers flexed in panic. Digging in his pockets, he produced a pair of thin black gloves and held them out to you just as the first trickles of blue appeared in your veins again. He watched with a studious frown as you pushed your hands into the gloves.

“Those will help,” he said, still looking at your wrists, “they can contain the powers. But you shouldn’t keep them on for too long.”

Jin was seating himself in the driver’s side as you frowned over at Namjoon. At first you had been relieved to have a solution to your erratic lightning problem, but that was ripped away at his last addition.

“Why not? It will keep you safe,” you questioned, but kept your voice quiet.

“Don’t worry, we’re more than capable of handling anything you could throw at us,” he laughed, “but you can keep them on in here. Best not to bottle up your powers forever, though.”

Resigned, you turned back to face front. The moment Jin stepped on the gas, all the lights in the road sparked to life at once. Startled, you blinked, looking around. On the pavement you were just pulling away from, a man was walking away, unidentifiable behind a hoodie.

Slumping back in your seat, you breathed a short, dry laugh. This mysterious happening was just the latest in this crazy night. You had no choice but to accept it.

The car ride was fairly short, but you were too tired and distracted to take in exactly where you were going. Streets seemed to blur together, aware only that you were heading out of town.

The itching in your arms had persisted for a while, but as promised, the gloves seemed to work. No fiery blue burst out of your palms, and, eventually, whatever it was decided to give it up, subsiding again by the time the car pulled up.

But no one got out yet. Jin had stopped at the end of a small road, big enough for only one vehicle, directly facing an expanse of crumbling and graffitied brick.

Curiosity woke you up from your daze, and you watched as Jin reached to tap something on his dashboard. Almost instantly, a groaning reached your ears from over the whirring of the engine. The wall ahead shook before shifting, sliding sideways until it tucked itself behind a dented dustbin, unveiling a space beyond.

Leaving you little more time to wonder, Jin started the car again and you rolled downwards through a plain, dark entrance. It reminded you of those multi-storey car parks formed with ugly blocks of concrete. It was considerably smaller than those, however, Jin pullingup into a space alongside about a dozen other vehicles, beyond which the place seemed entirely deserted.

Jin came around to open your door, but you were able to stand by yourself. It was still a bit of a struggle, your limbs sluggish and the world dull around you – although that may have just been the low underground light.

Namjoon led you, Jin staying close by your side. Blinking at the space as you moved through it, your eyes traced over the various car roofs, some cleaner than others. A larger four-by-four was particularly beaten up, with a large crease in one of the metal wheel arches.

Your eyes rested longest on what was probably the most pristine: a motorbike, at first hidden by the cars either side of it.

Soon enough, you were past them. Stopping as Namjoon did, you watched him expectantly. However, he did not turn around, instead standing face-to-face with a plain concrete wall. Except… now a low rumble announced the movement of a panel which slid away, revealing a wide doorway which had previously blended seamlessly with the flat wall.

Your eyebrows raised at the touch that was reminiscent of Kuyang’s lab. Without time for you to dwell on this, your small group moved up a dingy staircase that lay beyond the doorway.

At the top, you emerged into a new space, notably lighter than before. You assumed you were back on ground level, perhaps above. It was hard to be sure, disoriented as you still were in the whirlwind that had overtaken your day.

Bizarrely, the space appeared to be someone’s home. There was a large and coffee-stained table surrounded by mismatching chairs, a kitchen behind it littered with mugs and pot plants. Still, beyond the lived-in array of things lying around, it was big. You imagined it must be miles more expensive than the shoddy apartment you stayed in.

It was open plan, and you followed Namjoon past the dining table towards an area filled with two enormous sofas.

The back of a blond head was visible over the sofa, and now the person turned towards you.

“Guys!” a loud exclamation rang out as he leapt up. A dazzling smile spread across his mouth.

When his eyes fell on you, wincing at his sudden volume, the smile dimmed a little.

“Not so loud, Hope-ah,” Jin spoke gently from behind you.

“Sorry,” he dipped his head, smile remaining on his lips.

Jin’s hands came lightly to your back, steering you over to a sofa. As you sunk into it with relief, the blond man sat across from you, tilting his head to catch your eye.

“I’m Hope,” he smiled, “I’m glad we found you. You’ll be right in no time!”

Frowning, you couldn’t help but notice his eyes flicking over the damage on your face. Averting your gaze, you chewed your lip absently.

What did he mean? I’m glad we found you…

Had they been looking for you? You still weren’t sure if it was a lucky coincidence they found you, but perhaps it was something more.

The lingering ache in your head forced you to push the issue away. You missed Namjoon’s stern look at Hoseok as he hovered behind your seat.

Jin pulled a pack from a cupboard and set it beside you. You let him lift your arm and unwrap the burn, your unfocussed eyes dragging across the room while he applied something cold over it. Next came stinging, scattered over your face as he wiped at the small cuts and grazes with an apologetic grimace you barely saw.

You only forced the world back into focus when someone else entered your sight. Emerging from behind you, a gentle, friendly smile was directed your way from a man with pale pink hair. Swallowing, you never managed to smile back before he was turning away.

The pink-haired man reached a hand out to someone you couldn’t see. Another man appeared, walking towards him, but he never looked at you. Or if he did, it was obscured behind the black hair that fell to his eyes.

The two new people left towards the kitchen, though not without another smile from the pink one.

Who were all these people?

Frowning after them, you were interrupted by a clap on the shoulder from Jin.

“We’ll talk more in the morning. You need to rest.”

Looking around, you had half a mind to protest, but were overruled by the shakiness taking over your frame. Body too fatigued to allow you much say, you meekly followed Jin.

Beyond the living space, a thinner corridor led away, several closed doors along its walls.

Further you went, until a door just ahead opened. Another person walked out.

When he stopped to face you, his posture remained stiff. Tall and muscular, he was clad all in black except for a towel slung over his shoulder. Damp hair fell messily around his head. But you had little time to take this in, as his eyes fixed themselves fiercely on yours, rendering you unable to look away.

Mouth remaining in a hard line, his expression only twitched further into a frown.

Then his gaze flicked abruptly away, travelling to Jin just beyond you.

“Kook-“

Jin never got further than that before the man strode forwards, marching sharply past you and away with a scowl. Turning after him in surprise, you watched his tense shoulders disappear behind Namjoon, who you hadn’t noticed hovering.

Namjoon stared sternly after him, but the man seemed to avoid his gaze.

Jin sighed, sending an apologetic glance at you.

“That’s just Jungkook,” Namjoon spoke, ushering you all further along the hallway, “don’t pay him any attention.”

“Why was…”

You trailed off, unsure of what exactly to ask. Neither of them made an attempt to answer.

You had no idea a wordless encounter could leech so much hostility into the atmosphere. Picturing Jungkook’s glowering face, you blindly followed the others through a different door.

“You can sleep in here.”

“Hm?”

Shaking yourself, you looked around the new room. There wasn’t much to see. Beside a low bed, there was a mirror, a wooden closet and nothing more. Looking up, you didn’t even find a light in the ceiling. The only light leaked through from the hallway.

Clearly reading your gaping mouth and furrowing brow, Namjoon moved in front of you.

“Don’t worry, this is just a place to sleep, nothing more. But since you’re going to have to take those gloves off, we can’t have you in a space with any electricals.”

Stepping back defensively, your fingers pressed tightly together. Having the gloves on had let you almost imagine that nothing life-changing had happened. Like gaining unpredictable powers, for instance.

Namjoon watched patiently, holding out a hand.

“You don’t need them…”

He realised he had never asked your name, and let his sentence trail expectantly. Telling him your name, he relaxed into a smile.

“You don’t need them, Y/N,” he repeated, not that you believed him for a second, “you’ll be perfectly safe. And so will we.”

Only the yearning to collapse onto the bed persuaded you to hand over the gloves. The instant they were in his hand, you swore you could feel a shock go up your arm. Immediately tense again, your breathing became shallower, with no idea how to try and stop power shooting from your hands any moment.

But Namjoon and Jin seemed content. Before you could gather your thoughts, they had left, closing the door and drenching your room in near total darkness.

Stumbling to the bed and virtually falling into it, you wiped sweating palms against the fabric. Your mouth was dry with fear.

This couldn’t have happened.

Alone for the first time since your initial panic, it didn’t take long for your mind to wrap itself in circles again. Only hours ago, you had been sitting happily in your bright office, going through the motions…

One split-second decision from a powerful man had changed that.

You knew full well he had intended for you to die. But he was Bolt...

He had probably forgotten about it already. The guard he sent lifeless to the floor, the secretary he threw from the building.

Itching feeling returning, you swallowed desperately and raised your hands. Sure enough, against the darkness, blue pierced your vision, darting its way up-

Turning your face away, you flinched as the outburst came. Your eyes screwed shut, you pressed your cheek into fabric, not wanting to see the deathly lightning that shot through the room. Shuddering breaths broke into your lungs when at last it subsided.

Letting them fall, limp, to your sides, your hands fisted the covers tightly.

You were almost afraid to open your eyes, knowing it would only show you the empty room, confirmation that this was real. You were dangerous, shut in a safe room where you could hurt no one. Would you ever get out? Succeed in controlling this, like Namjoon had said?

With no idea where you were, barely any idea who the people here were, you wanted to block it out. But even with your eyes closed, you couldn’t escape.

The memory of Jungkook’s suspicious face made your heart sink. Perhaps people should be afraid of you, now. As much as you may want to, there was no getting away from this.

Pushing yourself to sit, you surveyed the room. Eyes accustomed to the blackness a little more, you could make out vague shapes. Your breath fell alone in the silence. This really was the safest place you could be right now, even if it was a nightmare.

As your head turned, you suddenly came level with your eyes in the mirror, and a shock of light.

For an extended moment, you could only stare.

Then all at once you were rushing forwards, tripping from the end of the bed. Bracing your arms against the wall either side of the mirror, you gaped at your reflection.

As you watched, an angular bolt of blue shot across your irises, which were already dimly glowing.

You gulped against the thick feeling crawling up your throat. Faced with this, you could no longer have any hope of denying it.

This was really happening.

Thank you for reading!! Please please let me know your thoughts on this chapter, comments make it all worthwhile!💜💜

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[lakesbian]

i have had like 10 friends rec worm to me but nobody’s given me a good like, gist of its vibe and what its abt because ‘its best blind’, could u please give a like brief summary and vibe check of it 😭 it’s so long i dont wanna try and invest that much time without knowing much abt it

so, worm is a 1.7 million word long webserial written in 2010. 1.7 million words seems like a lot, but it was also written over a relatively short period of time, which means the writing style is very easy to parse--the ideas aren't without complexity, but the language itself isn't intimidatingly dense. you can get through it at a very decent pace. i agree with your friends that there are vast portions of worm that hit best when you're unspoiled, but the thing is that worm is long enough that giving you the basic plot pitch is in no way spoilers for any of the things that i wouldn't want to see spoiled for someone. i'm actually kind of baffled they're not telling you Any Thing, because it is in my estimation one of the best books i've ever read, but it also Needs a briefing before you get into it for like five different reasons. which i will now provide. i swear to god this is brief by my standards it's just that i am very thorough

worm is a story about superheroes and supervillains, set in a world where superpowers are traumagenic--rather than appearing randomly or innately, some people gain powers after a traumatizing event happens to them. the protagonist is taylor hebert, a 15yo girl who has the power to control insects and desperately wants to be a superhero. and then accidentally finds herself scouted by a team of teenage villains instead. who's to say how she's going to react to all that!

one of the most compelling things about worm is that the superpowers in it serve as visceral, hyper-literal metaphors for the trauma and traumatized coping mechanisms of the characters with those powers. each power is incredibly specific and thematically relevant to the person who has it, and it's incredibly interesting and evocative. it feels so natural and well-done that it comes off like how superpowers are just meant to be written.

the fact that superpowers stem from trauma also means that worm is fundamentally a narrative about trauma. specifically, about traumatized teenagers and the relationships they form as they cling together while struggling through growing up traumatized & mutually coping with an increasingly intriguing, intense, and far-reaching escalating plot. worm's depictions of trauma + mental illness--including unpalatable trauma responses, including traumatized characters who are allowed to be complicated and nuanced and messy while still receiving narrative respect--are deeply real-feeling and impactful, and they're placed in the context of a well-spun + engaging story.

i really do have to stress how excellent the character writing is. worm is fully deserving of being as long as it is. over the course of 1.7 million words of character development, the average reader's reaction to the main characters goes from "sorta interesting" to "okay, i want to see where this goes" to "augh...really likable" to "i am now on hands and knees crying and these characters are going to stick around in my brain forever." wildbow has incredible talent for efficiently conveying complicated, real-feeling, and viscerally evocative characterization. many of the interlude chapters (chapters written from the perspective of different characters other than taylor) are so interesting, fleshed-out, and emotionally affecting that they make you wish you could read an entire novel about just the side character being featured. with that level of characterization for just the side cast, it's not surprising that taylor (& co) are genuinely just downright iconic. and i do not say that lightly--taylor is truly one of the best-written protagonists i've seen in anything. ever.

the other main pitch-point for worm is that it's a fascinating deconstruction/reconstruction/examination of the conceits of the superhero genre. it answers the question of--what would the world have to be like, for people with superpowers to act the way they do in classic cape media? and it does this well enough that it's interesting even if you have only a passing familiarity with cape media. i am not a big superhero media fan, but worm addresses virtually every aspect of cape media that was under the sun around 2010 in a way that's so interesting i still find it incredibly engaging. the approach it takes makes the narrative very accessible even to people who aren't usually cape media fans.

and speaking of the narrative: the end of the story is coherent and satisfying and deeply thematically resonant*. the way worm follows through on all of its main mysteries & plot threads is excellent. you don't have to worry about getting thru 1.7 million words and being dissatisfied by the author shitting the bed at the end, or anything like that. he does an amazing job of weaving together plot events in a way that makes each successive one feel rationally, thematically, and emotionally connected to what came before. there's really only one part where i feel the story stumbles a bit, but i think it was the best option he had for the narrative, and it's by no means a dealbreaker. it's in fact really impressive how cohesive and satisfying worm is for such a long webserial released over such a brief period of time.

*this is subjective ive seen some people who didnt love it but ive never seen anyone who downright Hated it who didnt also demonstrate egregious misunderstanding of literally everything worm is about. so thats a good sign

as for the downsides of worm/things that might put you off:

there is a very long list of trigger warnings for it. if you have any trigger warnings you want you should ask your friends to let you know about the relevant parts, because the fact that it's About Trauma (& about typical cape media circumstances presented very seriously) means that traumatic and violent things & their realistic aftermath are constantly happening and/or being discussed. i would not classify worm as needlessly dark or spiteful to the audience by any means, but it is intense and covers a lot of heavy topics. i do assume if your friends are all recommending it to you, they think none of the material would be too much for you, though!

worm was written in 2010 by a white cishet guy from canada. it's typical levels of 2010-era bigoted, it has a deeply lesbophobic stereotype character, it has some atrociously racist stereotype characters, the author really hates addicts, It's Got Blind Spots. i think worm is generally fully worth reading despite these, but very fair warning that it can get bad. i think what exacerbates this is that worm is generally extremely nuanced & sympathetic regarding ideas such as "crime is a result of systematic circumstance vs people just being inherently evil" and "mentally ill people who are traumatized in unpalatable ways are still deserving of fundamental respect as human beings" and so on and so forth, so it's extra noticeable and insufferable when you get to a topic the author has unexamined biases on and all that nuance drops out. the worst part is that a lot of this is most concentrated in the early arcs, so you have to get through them without being super attached to any of the characters yet. it is worth it though.

worm like. Does have a central straight relationship in it. and it's a very well written straight relationship for the most part and i like it quite a lot. but worm also passes the bechdel test with such flying colors that it enters 'unintentionally homoerotic' territory. which means a lot of people were shipping the main character ms taylor hebert with her female friends while the story was being released. which caused the author to get so mad he 1. posted a word of god to a forum loudly insisting that all of the girls are straight and 2. inserted a few deeply awkward and obvious and out of character scenes where he finds an excuse for the girls to more or less turn to the camera and go "i'm not gay, btw. this is platonic." This is fucking insufferable, and will piss you off immensely, but then you will get to any of the number of deeply emotionally affecting scenes between them, and at that point you will be too busy sniffling piteously and perhaps crytyping an analysis post on tumblr to be mad about all that other shit. also they're only a couple tiny portions out of an entire overall fantastic novel

overall: if those points don't sound like dealbreakers (i hope they aren't they're really massively outstripped by the amount of devastatingly good moments in worm, worm still has a thriving fandom over a decade later for a reason), you should absolutely give it a shot and see what you think. my final note is that you have to read up until the end of arc 8 to really see where what makes worm Worm kicks in, so aim for at least there to see how you feel about it if you're just thinking about dipping your toes in vs fully committing. i hope that was helpful and not too long :)

oh and don't go in the comments section on wordpress if you don't want spoilers. or anywhere else in the fandom at all. you will be spoiled. quite possibly for things you could not even have imagined were topics to be spoiled on.