#joking. i am just crazy

[patronsaintofgirls]

hey! couldn’t help but notice that you actually tagged this picture of gerard from mcrnashville as la1?? i know they’re wearing the same exact outfit and have the same exact haircut but you really should do better….

[whatsitzface]

The way Annabeth was thinking so far ahead of Percy that Percy was confused. The way she refused to elaborate on anything, and then was like; 'I'm surrounded by idiots' whenever someone (Percy) didn't understand her. The way she looked so smug after she pushed Percy into the water and he got claimed. THE WAY SHE WAS SO BLUNT!!!!! ("ARE YOU STALKING ME??" "yeah lol")

Sorry, but that's the most accurate Annabeth in the world holy smokes Leah did such a good job. All my forgotten love for Annabeth's character that I felt while reading the books just crashed into me full force and I'm frothing at the mouth with obsession.

“-You’re gonna expect me to know how to do something I don’t know how to do, and I end up falling flat on my face, I- I can’t really have that right now.” “You still don’t get where you fit into all of this, do you?” SHE’S TALKING ABOUT THE PROPHECY AND HOW SHE KNOWS HE'S A POSIEDON KID, BUT SHE HIDES IT AS HOW HE DOESN’T KNOW HIS PLACE IN THE CAPTURE THE FLAG GAME!!!! BECAUSE SHE WON’T TELL HIM!!!! AND ITS EPIC BECAUSE IN THE CAPTURE THE FLAG GAME HE DOES FALL FLAT ON HIS FACE, BUT IN THE PROPHECY HE DOES GET HIS DAD TO SEE HIM!!!! And then she fixes his armor plate, making sure that its secure. Making sure he won't get hurt. That's not part of her plan, and things always go according to her plan. She's the game master. IM SCREAMING

[bonefall]

I understand being upset by the moonpaw dog post but i dont think talking about some random teen publicly (on a pretty big fandom blog) as opposed to like, dming them about it, is a very nice thing to do? Would recommend keeping that kinda gossip in dms going forward personally.

??????? "That kinda gossip???"

Saying that it's fucked up that a publicly posted incest joke about how deformed she should look went to the top of the Warrior Cats and Moonpaw tags, is gossip???

TRENDING TAGS?? GOSSIP?

I'm not talking about "some random teen," I have not even dropped a username and been VERY clear I don't want harassment of anyone. During this discussion about wider ableism against Moonpaw, I've directly answered two anons about the contents of a post that was/IS extremely popular to the tune of nearly a thousand notes.

One of those two asks was an anon who only stumbled in to say that the post was funny in a display of SHOCKING tonedeafness, while I was talking about how shitty it is to compare people who are the products of incest to unethical dog breeds, especially in the context of WC. The other was an actual XX/XY chimera who expressed that the extremely popular post hurt their feelings, and when they tried to express discomfort to someone, got told they "probably killed their twin in the womb."

It's not just one rando weenie little blog the minute half of the Tumblr space is openly laughing at a joke about deformed incest kids and hoping Moonpaw dies because she's so "gross." Not nice?? Your feelings are hurt? OTHER people's feelings were ALREADY hurt.

NOTHING about this was "nice" to begin with!

Difference is, when YOU cry me a river, you can build me a bridge, and get right the fuck over it. A person who's the product of incest cries and has to go right back to every shitty banjo-hunchback-hapsburg joke they've heard before, just feeling more unsafe about a space that PRETENDS to care about the abuse they experienced. If you feel guilty about that, maybe you should!

If you were under the impression I was ever "nice" about bigotry, you were mistaken. I don't appreciate calls for ME to be more polite when I'm at a trend of fandom ableism and calling it fucked up. I've named NO names. Sounds like what you ACTUALLY want is for people like me who have a platform to shut up.

[tojiscrack]

sneak peak, 'liar, liar' chap.6 : junior year

liar, liar masterlist here:

he flinched when your voice rose once more:

"you're taking ap math?" you demanded, only just realising that he had one extra lesson than you, yuji and nobara. it was at the very top of the table, labelled 'period 0'.

"don't give him an opportunity to act more pompous than he already is," scoffed nobara, looking uninterested. you did not comment on how she still peeked over the sheet when she thought you weren't looking.

"wow," yuji began, looking pleasantly in awe at megumi's hefty schedule. he leaned back in his seat, careful not to pull himself too far back in the event that he might fall off. you secretly wished that he did, if only to stifle your current shock. "so you'll start the day earlier... won't you be exhausted when we get to football practice?"

that was a good question. since coach yaga had stubbornly given both megumi and yuji spots on the school's football team, it had since been announced that practice would take place every day after school unless otherwise mentioned. with megumi's mornings starting earlier than the rest of you, and his days finishing later, he was bound to be torn down with tiredness. although he acted like a robot all the time (eat, sleep, make a rude comment about you, repeat) he was still a human who needed rest. more school meant more social interaction. more social interaction meant a drained megumi. things would only go south from there.

he shrugged at the question.

"i'll be fine," he answered, unbothered.

you disagreed. "you'll die —"

"— revive me with your mermaid abilities then —"

you hoped you pinched him hard enough to bruise. 

"wait," you said, halting your attack on him with a slow frown. he took the opportunity to rip your hands off his ribs and shuffled away from you. you ignored him, sliding down to sit hip-to-hip with him. "if you do ap math in the morning, we can't walk to school together."

for the third time that day, megumi snatched back his timetable from you.

"good luck," he said. "you cross the road like you have nine lives."

"you basically just told her that you wouldn't care if she died," yuji intervened, quick to jump to your defence despite the many times you would argue with him too. 

"this is what happens when you hype him up," said nobara, pointing at him with enough aggression, any outsider would probably assume that he'd committed blasphemy — you liked to think he had. 

"i'm surrounded by idiots," you thought you heard him mutter. 

liar, liar masterlist here:

notes: guys, this is the chapter AFTER the (unreleased) chapter 5. thought i'd feed it to you 'cause i don't have a sneak peak prepared for chapter 5 itself, and this was sitting in my drafts, unattended. and cuz it's been over a month since the last update (and will take another month to actually complete and release a new chapter) i thought i'd give you guys SOMETHING rather than nothing :)

[koszmarnybudyn]

A wip because i dont have time to finish it today and i will probablly be busy tommorow.

[boopsloop363]

Invited all my friends up to San Antonio for the weekend at my cousin's. They all politely refused and blamed it on their schedules but they all seemed to shy away the moment I told em we'd be doing work on my cousin's house. I get it, who wants to work for free especially when you have zero experience in home improvement... but like, y'all are men lmao

[g1ngerbeer]

what kind of sauce are they putting in the link click audio drama. HELLO? THE LITERAL LAST SCENE OF THE LAST EPISODE?

程小时: 说起来，我们第一次见面，也是在篮球场吧。 陆光: 是啊。 程小时: 你我本无缘，全靠一颗球。 陆光: 我就不该答应你比那场。

cheng xiaoshi: speaking of which, the first time we met was also on a basketball court, wasn't it? lu guang: it was. cheng xiaoshi: (half-jokingly) you and i weren't meant to be [lit. "originally have no fate"?]. this is all because of one basketball. lu guang: i really shouldn't have agreed to play that match.

(the important bits are from google translate because i am bad at mandarin. also i did transcribe this off just the audio + i don't have access to captions or know where to find official transcripts. so i hope i got this right 🙏)

[givemewallywestorgivemedeath]

Straight up had a dream last night that DC revealed that Bart and Kon were dating and it was in the WILDEST FUCKING WAY.

K, so picture this: Clark needs someone to fly around disguised as him for a plan. So Clark goes through the options in his head: Bruce can't fly, MM is off world, Jon is too much of a twink to be believable, Kara is blonde, Kon is.... Perfect! With a person in mind who would be perfect for his plan, Clark flies off to find Kon.

Cut to Judy Garrick zipping around the Garrick's house. Joan is quietly scrapbooking at the kitchen table and Judy is bored out of her mind. Judy asks Joan if there is anything she can do because she is so unbelievably bored.

Joan responds, very calmly, that she can hear "your brother's boyfriend touching down in the backyard, so why don't you go ask him?"

Judy's face jumps from emotion to emotion as three things are revealed at once. 1) Joan considers Bart to be a son and thus, Judy's brother, 2) Judy's new brother is not straight and 3) Bart has a boyfriend who is in the backyard.

So Judy immediately runs to the backyard and is stunned to bump into Clark (who was there looking for Kon) and then the dream continued on with the two of them hunting down Bart&Kon (who were just at school being normal goddammit!!!) but the entire time Judy is secretly out for blood because she thinks that Joan was referring to Clark and that this adult man is trying to date her new little brother and Judy keeps trying to kill him but it doesn't work because Clark is Kryptonian (and oblivious to the attempted homicides).

Anyway, wild dream all around.

[cairngrom]

(not shipping them)

i just want them to be okay, be good sibling to each other.

[dw-flagler]

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

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

"MHA has better characters,"

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

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

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

"a better plot,"

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

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

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

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

"better worldbuilding,"

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

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

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

"stronger themes,"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

No, the Villains don't get happy endings,

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

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

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

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

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

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

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

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

[satorisoup]

people will think im ordinary until they say one (1) thing about tmnt and all of a sudden im explaining the entire lore starting from the 1990’s movie & why donatello is the best turtle i fear… T^T

tag limit fights me… i must yap… please listen… SOB </3

[redribbonsandblood]

i hate in when im mad at someone and they feel bad and that makes me feel bad

Iike fucking stop can u let me direct my unfocused anger at you???

Jokes jokes jokes

[homicidal-slvt]

I'm sexy in the same way that a mentally ill guy who's been nearly beaten to death is sexy

[gracecarstairss]

analyzing Kel Saren x Antonetta Alleyne (my favorite Sword Catcher ship)

I think the overwhelming consensus is that Conor x Lin are peoples' favorite Sword Catcher ship, and I do like them, but Kel x Antonetta was definitely my favorite by far because they have such an interesting dynamic.

When I was reading the book, I initially disliked both Kel and Antonetta because I thought they were dry and boring up until about 25-30% into the book. Then, I realized that it might actually have been intentional because what we are seeing up until that point is both Kel and Antonetta's alternate personas, and later in the book we start to learn more about who they both really are. Spoilers below!

First, let's talk about Kel's alternate persona - Kel Anjuman. He is lost in this character of the prince's cousin, and at the beginning of the book seems like he has forgotten who he really is. He is just going through the motions - pretending to be Conor in some instances, trying to be invisible most of the time, and tolerating Conor's annoying friends. Being Conor's body double is definitely all that he was thinking about/cared about, and it seemed like he didn't have any interests, ambitions, or motivations at the beginning of the story. However, this is purposeful because Kel is literally property of House Aurelian and he has been trained for the sole purpose of being Conor's human shield, so he really CAN'T want anything, because he is expected to possibly die at any moment. He is just waiting for death, which causes him to be so reckless later in the book.

As Sword Catcher goes on, it becomes clear that there is a distinct difference between Kel Anjuman and Kel Saren, when I previously thought there was not much difference. As soon as Kel meets the Ragpicker crew (Merren, Ji-An, Andreyen) and realizes they know who he really is and give him what he needs - a motviation, a drive - the Kel Anjuman facade is gradually dropped as the book goes on, and Kel starts to struggle with integrating himself back into that persona around the nobles. His relationship with Conor starts to be strained by the end of the book too because I think Conor is sort of fooled by Kel's false persona - he has forgotten who Kel actually is, which is not surprising with Conor being so selfish and self-absorbed. I think Lin also helps Kel pull out of this rut because he is able to be himself around her and she understands him well. Lin's POV really shows the reality of the double life Kel has to live, with her constantly arguing with Conor about how wrong it is that Kel is essentially a human shield and is treated as utterly disposable in the eyes of House Aurelian.

The Ragpicker crew and Lin knowing Kel's identity is almost freeing for him, and so because he does not have to keep up the Anjuman persona all the time, he doesn't want to go back to that persona. He doesn't want to pretend anymore and that's where we see that struggle for him to fold back into that box at the Palace parties in the last 50% of the book.

Now, let's discuss Antonetta's alternate persona. We typically see her through Kel's eyes, and he makes a clear distinction from her personality before and after aged 15. Before age 15, she is a childhood friend, she loves doing everything the boys do (like sword fighting, for instance) and they boys treat her like one of them because they are kids, they don't really see the difference. After age 15, Antonetta has her debut (at 15?? eww, at least make it age 18). Thereafter, she is strictly micromanaged by her mother and now adopts a highly feminine look and a giggly, stereotypically dumb blonde-esque personality. The boys all start thinking of her completely differently, in more of a sexual way, and we see that Kel was floored and confused about the sudden shift in her personality and the shift in the way that everyone saw her. He states that everyone forgot that she was clever, extremely opinionated, and liked fighting. The boys (Conor, Joss, and Charlon) only saw her as a sexual object after her debut. The difference in how Kel acts versus the other boys can be attributed to the difference in their status - Kel grew up in an orphanage up until age 10 and is only pretending to be noble and does not consider himself one, and therefore does not see the customs of the nobles (such as a debut) as relevant, while the others have grown up with this ingrained in their minds and are used to these practices and have grown up to expect them. I think Kel also didn't have much experience seeing the power imbalance between men & women in this society, so it was very new to him.

This is when Kel and Antonetta, at age 15, have a falling-out because she and her mother both tell him that he cannot pursue Antonetta because he is a minor noble. This is after Kel "proposes" to her with a grass ring, and I think this proposal was very innocent and sweet, so it was devastating for Kel to be rejected so cruelly because of his lack of status/power, which especially hits home because he really is a commoner. Antonetta specifically tells him that she grew up, and he needs to grow up too. I think this is when Kel starts developing this alternate persona. In a way, Antonetta catalyzed this shift in his mind of how he should conduct himself as a noble and how little power he had in making choices for himself, which I think is a big part of him trying to tamp down every want/interest/ambition that he had.

Antonetta continues to develop this persona, to the extreme frustration of Kel (even though he does the exact same thing). In his POV, we constantly see him being aggravated by her fake smile that makes her seem clueless/dumb. There is one scene where the five of them (Conor, Kel, Joss, Charlon, and Antonetta) are hanging out, and Kel is standing on the balcony being moody because he doesn't want to interact with the other boys. Antonetta is hanging with the boys and has adopted her clueless persona, then goes to talk to Kel and acts completely different. Then, Conor, Joss, and Charlon call Antonetta over again and Antonetta immediately dons the persona. When she comes back to talk to Kel again, it's gone again. She goes back and forth between Kel and the boys multiple times and literally changes the way she interacts every single time. This was the scene that made me start to like her character because it clearly depicted her switching the way she acts based off the person she is speaking to. Throughout the book, we see her showcase her cleverness by diffusing and/or manipulating situations to go the way she wants them to using this tactic. Kel notices this more and more as time goes on, and shows that she is still the same person she had always been, but she was just forced into this persona to survive on the Hill (and to please her strict mother).

Near the end of the book, Conor gets engaged and so Antonetta's mother stops strongly regulating her whereabouts and her outfits choices. This is freeing for her because now she is able to sneak around and practice sword fighting (something she was not previously able to do) and wear clothes that she wants to wear. Her mother forced her to wear hyper-feminine colors (pink, yellow, etc.) to make her look more childlike (eww) to be appealing to Conor, I guess? Now, she is able to dress in a more mature fashion, which does not match with her "clueless" persona (because this persona is a lot about her pretending to be naive, inexperienced, young, etc.) Antonetta having more freedom appears to make it harder for her to continue to use her "clueless/dumb" persona with her newfound ability to choose her own clothes and pursue her preferred hobbies. Therefore, she and Kel are in the same position at the end of the book. Both Kel and Antonetta are really struggling to continue to don their alternate personas, and they can see that in each other, especially since they always drop their guards around one another.

In one of their final scenes together, Antonetta tells Kel that she was only interested in marrying Conor so that she could keep her Charter because her husband will inherit the Charter, and Conor couldn't. Then, she tells Kel that he seems to not want anything. I think this is so interesting because she noticed the way that he tamped down everything that he wanted to the point that it seems like he wants nothing. Obviously she doesn't know that he can't have anything because he is expected to die at any moment, but I think this line from Antonetta shows us that Kel really was losing himself and had very little motivation to do anything of his own volition. I think Antonetta maybe knows more about Kel than she is leading on or at least suspects that he is not who he says he is because she is observing him and trying to gage what his motivations are.

When Kel found the ring in Antonetta's locket, I almost passed out, I was so excited. This is an obvious indicator that Antonetta still has feelings for Kel and remembers the way they used to be in their childhood, when Kel always thought he was the only one. Maybe, to her it is a symbol of someone who loved her for who she truly was, with no false persona and with no interest in power from her family's Charter.

Their dynamic is so interesting and I know with more development it could be so insanely good in book 2! At the end of Sword Catcher, it seems like they seem to be getting closer and very aware that they are both hiding things, and with Antonetta's mother wanting her to marry Gremont, I know shit is going to hit the fan. They definitely are the most interesting couple to me because of how similar but different they are in their defense mechanisms and how they are surviving the challenges in their lives. They both understand each other very well and they WILL be together at the end of book 2, I know it!!

[kanene-yaaay]

tehee teasy lees tehee

[razzledazzletrassh]

no major fic updates just yet guys TAKE MY WOY OC I MADE LIKE. April of last year IM PLUGGING SOME INFO ABOUT THIS GUY IN THE TAGS.

I may also redesign her soon or something. Make her more bug-like with some stuff. I can cook guys let me cook !!!