#like if we want to talk about the similarities of heroes and villains...this is the direction to explore. the Line of Arrogance

[utilitycaster]

Marisha truly shines with the Jackie Renoux archetype; there's a lot of it in both Beau and Patia, and even a little in Keyleth and Bunnie, and it's just like girl you gotta play a woman who's unbelievably competent but either arrogant or sort of annoying (positive) about it because every single incarnation of this slaps so hard.

[wonderjanga]

Marvel not Caring

I feel like the few times Billy needs to get something over with, he just doesn’t care. Like honestly, I’m going to connect this to my Marvel Compilations post. (In that post I just talked about how Marvel could be a clip farm and the potential vids he would have) Let’s say these are all from the 8 minutes and 47 seconds of the Big Red Cheese tweaking out vid. Cause why not?

One day, Marvel’s doing patrol. See, he wants to get it done with, hopefully with no major villain attacks happening, because Darla has a school play, and he wants to see her, even if she got cast as a tree. But of course, things didn’t go his way, especially just when he needs to start heading out for the play.

*vid opens up to Marvel floating in the sky looking down at a Female Villain*

Female Villain: *attacking people and causing general havoc*

Marvel: *looks around for any cameras and doesn’t see the one recording the vid*

Female Villain: *sees him and his about to do something*

Marvel: *winds hand back (as if he needed to) and backhands her like an abusive husband*

Any Nearby Civilians: *cover their mouths as they look away. A good chunk of them sped walked away*

Female Villain: *knocked the fuck out*

I’m telling you right now, a good chunk of the comments on that video were something along the lines of ““that’s not right,” I whisper to myself as I speed walk away” or ““You don’t hit a woman,” I think to myself as I step into the safety of my car and drive away.” All stuff like that.

The day after that…

Marvel: “I just ended the problem as soon as I could, guys! I don’t beat women!” Superman: “We know! We know, but did you have to it so… so ferociously?”

Marvel: “Ferociously?”

Flash: “Dude, you looked like you’ve been waiting to do that.”

Marvel: “I haven’t! It was just effective, and I was on a time crunch.”

Flash: “Time crunch?”

Marvel: “Yeah, I had to see this person I know go be in a play.”

Batman: “Hn. You could’ve just said you wanted to see your child’s play. I’ll admit I’ve done something similar when Robin was in a play of his own.”

Superman: “Yeah. If the play thing is true, that’s a valid reason for any father to do that.”

Marvel: *a little confused as to why they assumed Darla was his kid* “Uh, yeah. I didn’t want to miss it.”

Flash: “Who was it for by the way? Junior or Mary?”

Marvel: “Neither.”

*silence*

Marvel: “You guys don’t know her. She isn’t a hero.”

Flash: “Dude… you have another kid? Why do you never tell us these things about yourself??”

Then, there’s another clip of Junior and Marvel. Beast Boy recorded the audio for shiggles and hid behind a wall but was surprisingly met with:

Marvel: “Okay, you know what, Junior? I don’t care that you’re disabled. Put your hands up.”

Junior: “Dude, I am not fighting you. You’re stronger than me.”

Marvel: “So? You’re only a little bit weaker. If you paid Mary like five dollars, I’m sure she’d fight with you. Now anyways put your hands up.”

Junior: “She’s not even here! And, hey- hey- Stop that!”

A lot of crashes and bangs could be heard for about 30 seconds. The video then ended.

Then, there’s another clip of him and Mary sibling arguing, but of course, most people think that Cap’s her and Juniors dad. So, when they say certain things, people tend to view it more extremely.

Marvel and Mary: *arguing*

Marvel: *says something completely outlandish that you should absolutely not say to a child*

Mary: *barely blinks and says something right back*

Marvel: “Oh so help me Gods, if we weren’t related, I would scrape your face across the pavement.”

Mary: “Oh yeah? Well if we weren’t related, I would skin you with a butter knife!”

The two proceeded to continue arguing before they somehow make up mid insult and go get ice cream like nothing happened.

Bonus:

Black Adam and Marvel: *floating up in the sky*

Black Adam: “You know, you’ve never said anything remotely similar to that to me.”

Marvel: “What’re you talking about?”

Black Adam: “I would scrape your face across the pavement.”

Marvel: *nearly has a heart attack when he says that*

Black Adam: “You said that to the girl. You’ve shown more disdain for that girl than you have for I.”

Marvel: “Uhhhh…” *panicking cause he doesn’t know about the video*

Black Adam: “Do you… not take me seriously?”

Marvel: “No, no, no, of course I do!”

In this AU, Marvel doesn’t really throw much shade at his villains aside from the occasional comment and that’s it.

[timmydraker]

Thinking about how we see such an amazing bond between Damian and Dick, with the older being a mentor and big brother and in a lot of ways a parent to Damian. It’s beautiful to see Damian have someone who lets him be a kid while still understanding that he’s god the mind of a soldier and that those things can conflict and clash badly.

And just as Damian has Dick, I want/believe that Tim had Jason.

Even though Tim got to see Dick as Robin, that was only after the acrobat had been doing it for a while. But with Jason, Tim got to see him from start to, unfortunately, end. He got to see the young joyful boy who brought a different kind of light and excitement to Robin, as well as a deeper understanding of how the streets of Gotham worked in those eyes only a few years older than him.

Jason dying impacted everyone and by no means was Tim affected the most, but he was still affected pretty heavily. His whole reason to exist while his parents were away was to watch the Robin sore and he looked up to Jason more so than Batman because they were so close in age.

Tim becomes Robin, Jason becomes Red Hood and both of them have to deal with gigantic emotional mess than comes with Jason trying to kill him and then changing his mind only after the younger survived anyway.

Everyone has traits similar to Bruce and Jason is the best at mimicking the man’s emotional awkwardness but he does his damn best and I genuinely think that Tim pushes that a lot.

With Damian it’s different because Jason saw first hand how talented the boy is, even if it came at the cost of a childhood, so he doesn’t have to worry as much. In some ways the boy even trained Jason.

But Tim? He’s book smart as hell, but Jason can’t get past the fact that he’s so similar to how him and Dick once were. He’s just a normal kid who wasn’t raised with a sword or gun in his hand. It was half the reason he had been so angry at Bruce, because it wasn’t that someone took his place it’s that even though he had a literal child die with that suit on he still let another take his place.

Jason worries over him, is the one most likely to banter with him and listen to him talk about his technical nonsense even if he doesn’t understand a damn thing. He doesn’t belittle him, just teases and jokes when others are around, but when they’re alone it’s quiet conversations our philosophy and stress and the endless cycle of villains and heroes fighting.

It’s safe for both of them, as Jason gets to do what he needs to to heal himself through his younger brother and Tim gets a support that isn’t demeaning and overprotective.

It’s a difficult balance and they do have arguments, but they are quicker to sort it out with each other than with anyone else in their family or even their lives.

Bruce totally isn’t jealous of either of them.

[hana-no-seiiki]

BROKEN EXPECTATIONS, NEW ASPIRATIONS (I/III)

⟣┄─ ˑ 𝐈. ✧ yandere! batfam + dc heroes x yandere! alien! reader (ft. ocs of mine, and other dc characters)

synopsis: you weren’t as innocent and benevolent as they thought you were, but that just makes things all the more exciting

tw/cw: dddne, reader is yan (platonic for this part, romantic for future parts(diff people). yandere themes, general violence, torture, sadist reader, incest (one-sided/not reader n it’s a brief mention so it’s not a main part of the story oh god-). reader is half based on jingliu/jingyuan from honkai star rail + laezel from bg3 worldbuilding. and there’s also a bit of malenia/miquella inspirations. reader has a background. reader’s alieness is explored/talked about. op! reader. wish fulfillment.

in short this was an oc insert of mine that i reconfigured for you guys to read. not your thing? scroll past thenks.

[next]

YOU HAVE ALWAYS BEEN THE KINDEST, MOST LOVING PERSON THE BAT-FAMILY EVER KNEW. You were so gracious with your benevolence that each and every vigilante took it upon themselves to take care of you at all moments lest you fall into unsafe situations or the hands of people who would ruthlessly take advantage of you.

Eventually, they forgot the fact that you were the sibling of the notoriously violent DAYBREAK, a vigilante that could be easily called a villain or terrorist instead if it weren’t for his close affiliation and friendship with the old Teen Titans crew when he was younger. He helped once in a while, but only if it meant he had free rein to cause carnage.

“This is useless, they won’t fess up.” Jason grunted as he fumbled around with his weapons, all broken after the battle just moments prior. Aliens and their abilities always made him feel so small in the grand scheme of things, and especially when they completely obliterated his entire arsenal.

Tim groaned, his back ached from the amount of times he was flung away towards whatever wall or ally the enemy wanted him to go to. He was used to being man-handled and even enjoyed that once in a while, but not in that way. “Aren’t they one of your kind? Cant you like… I don’t know…”

Your brother huffed, a pout on his pretty features. Quite similar to yours. Yet, he doesn’t spare the rest a glance. His eyes were trained solely on a restraining spell he managed to conjure as a last ditch attempt to stop the fight before it got . . . irreversible. Usually he’d just disintegrate whatever or whoever even looked at him wrong but even this titan-like intruder was proving to be a pain in the ass. “I can’t believe you, doesn’t mean we’re the same kind or whatever that means that—“

“He’ll be lucky to be even considered as one of us, filthy —“ The massive form spoke. Its metal like body clanging as it struggled in the spell’s area of effect. A soldier from your home planet, not as well trained as your brother — but he was brimming with aetherial ardor. A sort of magic source your people used.

“Okay, that’s it.” [Brother’s Name] groaned, summoning the last piece of his strength to open up a terminal. “Hey mooncake, need ya to do something for me.”

“No, we aren’t letting [Y/N] anywhere near this one. They could get seriously hurt. We were barely even able to—“ Dick held him by the shoulder, only to get burned by your brother’s leaking ardorial energy.

“Relax. Besides I’m not in your team. I don’t have to follow orders from you.”

“Daybr—“ Rachel, her cape almost completely burnt and tattered opened her mouth to admonish him.

But the sound of your sweet voice (more like hoarse, and half awake) silenced them all, “What do you need help with this time?”

“[L/N] don’t listen, go back to sleep, beloved.” Damian moved in from behind, learning from Dick’s mistake and instead using his blade to warn [Brother’s Name].

But if anything, that made the man more excited to annoy the “demonspawn”.

“Oh, mooncake you can’t believe who I stumbled upon today! Smile for the camera why don’t you?”

[Brother’s Name] flipped the terminal to show your face.

“You’re . . . General [Y/—“

And then flipped it back, showing his injured body. “He hurt me real bad. Look.”

Your face does not move nor your voice waver,

“Come back to the base.”

“No.” Black Canary, Dinah, slammed her hands on the table. She couldn’t believe this. It was already bad that they allowed you to be involved in their line of work, now they were letting you come face to face with a being that almost wiped an entire team of experience fighters? What were they thinking?

“That . . . thing is dangerous. We cannot allow this to continue!” Arthur concurred. He saw the state of your brother. A civilian like you had no business with something so dangerous.

“Unfortunately I have to say no to your refusal as well.” You calmly responded, “This situation is under the jurisdiction of the Fleet. It is only right that Daybreak and I deal with it.”

“Father you can’t possibly allow them.” Damian gripped your shoulder as he pleaded with Bruce. He had known you the longest next to Tim. You were barely able to hold your own as a normal student. Not that he was looking down on you, but if you couldn’t even fight for yourself in conversation, how could he let you be around that monster?

Bruce closed his eyes in deep contemplation. He studied your kind comprehensively. He did so for every vigilante and villain alike (Contingencies were his specialty) From how your magic system worked, to how society and customs were like. A lot of his knowledge came from Clark, who had also done his fair share of investigative work into your background.

He of all people in this line of work knew how dangerous you and [Brother’s Name] can be. He had done his calculations based off of what Daybreak could do. But curiosity drove him further.

“Fine.”

“Father!”

“But the whole league will be watching you, alongside the Young Justice and Teen Titans.”

“Sheesh, overkill much?” Daybreak, now plain [Brother’s Name] in a bunch of casts, piped up.

You nodded, quite honestly just aching to get out from this stuffy room already. “That is fine.”

Before you left, you head swiveled to take one last look at your sibling, building up whatever emotions you needed to see the job through, “Get some rest, brother.”

“Are you kidding? I gotta watch this.” Your brother laughed in earnest, almost-too-wholesome-for-him manner. You managed to understand why as his eyes scanned the people in the room.

He wanted to see them react to your true nature.

Your form finally disappeared from his sight as his eyes finally settled on another image of you glued atop a folder. “What are those?” He pouts to gesture at the objects, too injured to move his limbs.

“Files on [Y/N] and the being.” Bruce answered, opening up the screens for the cameras to the interrogation room.

[Brother’s Name] knows you’d give him a sermon for using his powers while he was already banged up but he had no choice. His arms were too broken to open up the folder after all. “You guys work quick.” He commented as the papers levitated and flipped through itself.

His eyes scanned the typewritten document swiftly, smile growing by the moment, “Pffft — kind hearted soul? Who wrote this?”

“It was compiled by me, but our sources vary from vigilante to civilians.” Clark mumbled. As one of the only other aliens, and people who could feel aetherial arbor. He felt your presence, your anger leaking earlier. It was heavy, as if the world was suddenly placed upon his shoulders. Yet he felt no fear for his own safety, only yours.

The gigantic door before you slid open revealing the enemy the vigilantes struggled to subdue earlier.

The soldier stood upright, sensing your presence. The rumors were true it would seem. Many wouldn’t be able to spot it, a testament to whatever you did to conceal your prowess, but they immediately recognized the magnitude of your ardor practically oozing around you.

He was expecting your anger. He knew of your protective nature towards your brother.

“My apologies.” But you didn’t. Instead you began nursing their injuries, repairing their armor, and even initiating casual conversation. “It must have been a long journey. I can’t help but resent whoever sent you here.”

“Your Excellency! I came of my own volition.”

“Oh? But judging from your armor you must be one of the knights.”

“Yes, 512th Squadron of the Imperial Army.”

“Of course, my eldest brother’s . . . “ Your fought to keep your hands from clenching. A gentle smile on your features remained unshaken even by the sudden revelation.

“Y-yes, your Excellency. It took many jumps for me to get here on my own.”

“Alone? What did you wish to come here for?”

“I-I wished to meet you but those Earthlings wouldn’t let me.”

“Mm. And so you fought them. As is right for one of our kind.” You brought out a handkerchief and wiped down your hands after finishing the task at hand. Then you took a seat in front of them.

“You understand! Of course.”

“Actually I came here to bid you to return. The Emperor misses you dearly and wishes to see you.”

“Do you know why he does?”

“N-no?”

You looked down. Voice soft, relaxed shoulders, a solemn tone, and a tremble to add on top. “My brother. He wishes to have a child with me. To use my powers in the form of a future heir to the throne.”

“I am not quite ready to have a child yet.” Nor were you interested with being a babymaker for that tyrant. But that wasn’t an appropriate excuse in the grand scheme of things.

“I understand! Your Excellency is quite young and even then, you have saved countless of lives. You deserve only to do as wish and nothing less.” The soldier slammed the floor in front of it. “Besides, his Majesty had already taken so many concubines I’m sure an heir wouldn’t be needed anytime soon.”

You nodded. A moment or two of silence for your mind to recollect everything that has been said before you execute what you came here for in the first place. You closed your eyes and took a deep breath. “How incompetent must the new Imperial General be at the moment?”

“Pardon?”

“Information is the most valuable asset to any sort of battle. As a general I kept a tight leash on it. Lest it spilled and caused unnecessary ruckus.” My knights were drilled, put through fire and blood, wiped clean before they were thrown back into hell again. And most importantly they were taught to sew their mouth shut or die. You, you just spilled everything I needed to know the moment I showed that I cared.”

“Your Excellency, I —“

“I was only going to punish you for trespassing. A measly act of destroying your Aetherial Helix.” “But in all honesty, I might be doing that brother Emperor of mine a favor by going . . . further.”

“N-no, you wouldn’t, you’re—!” The soldier was about to defend you even in its dying moments. But as it truly recounted all that has been told about you from its peers and seniors, it realizes one truly fatal fact.

You were never known for benevolence.

“Please! I did this all for you! I only wanted you back as my General!”

“Let this be a lesson.”

“No, please ! I- I - I beg of you—“

You looked up to the ceiling, beyond it — the stars and the infinite darkness you once called your home.

“And so I’ll continue to wield your blade, until I cut the stars from sky. I will protect you even from the gods I serve.”

You chant. The blood on your hands once again becoming too visible and distracting.

“Thank you for your service, soldier.” You deeply bow your head to the disintegrating corpse beneath you. Allowing the fallen's drained life essence to cover your forehead. [Brother Name] smiles. To others it may seem to have been a sign of respect — but to your kind, you were simply absorbing the spoils of battle. Taking in the dead and disgraced's remaining imprint on this world.

“My deepest apologies for the mess and time it took. The matter has been dealt with.” You returned. The blood, having dripped down your face, had dried and turned dark.

“I hope this has not soured your view on me.”

“Not at all . . .” Tim was the first to speak at your return. His fingers unconsciously replaying the footage of your . . . execution. Millions of questions already shot across his head as he was eager to probe you on them one way or another.

If anything it only made their obsession with you worse.

“Let me be your sinner, brother. This oath I shall never forsake.”

[inbarfink]

Okay, so I already wrote a bunch of stuff about how that scene, although it is really sweet, is also kind of a Bad Sign for Simon - how he refuses to learn the Obvious Lesson from the Winterworld adventure (that being the Ice King again is probably a really really bad idea). But I want to talk about it also a little more about what it means for Fionna’s character as well. 

Because while sitting around and wallowing in self-loathing is probably bad for Fionna, especially after being told that she shouldn't be allowed to exist, and Simon is right to try and get her out of her funk. It's also still worthwhile for Fionna to have some introspection about the Consequences of Her Actions. Because she and Cake really did not consider them at all at first. They have a sense of morality and an instinct towards heroism, but they also tend to kinda forget the fantastical worlds they visit don’t exist entirely for their fantasy and have kind of a Protagonist-Centered-Morality fallacy. 

Most obviously you can see it in the market in Ooo. How Cake, in her excitement, damaged and hurt and even killed

A bunch of innocent marketgoers without even noticing. And then Fionna immediately jumped to Cake’s defense against these ‘weirdos’, who were actually just normal kinda-righteously-angry Oooian citizens.

It’s actually very similar to the whole Winterworld situation. Fionna’s assumption that she’s automatically the hero and protagonist of the story and black-and-white view of the situation and her tendency to kick ass first and ask questions later meant that she just recklessly injured a lot of innocent people.

(It might’ve been worse actually cause at least in Winterworld she was at least manipulated by an evil Wizard)

Fionna and Cake clearly have a great potential for heroism, but they do need to be a bit more considerate of the situation and people around them. And it does make sense considering that from their perspective - they’ve been living a very ordinary life up until now (and Cake was literally an animal. A very clever animal, but still not bound by the same standards of morality as the talking animals in Ooo). Action and adventure and fantasy stuff has been purely the realm of daydream and video games for them - and Fionna literally speaks about it in these terms.

(also, Fionna's Main Character Syndrome was undoubtedly validated when God literally told her that she was created to be the main character of her universe)

So yeah, it takes them some time to really process how to be heroes - they need to grapple with questions that Finn and Jake already kinda dealt with seventeen years ago. And actually a lot of those; how to resolve a situation without necessarily using violence, when does a 'villain' actually deserve sympathy and kindness, the importance of the larger context of any given conflict... their confrontations with Ice King all played a big part in that. It was never just him, but he was still a very major part.

And for Fionna and Cake right now, learning these lessons require some amount of personal introspection. So while it was a sweet attempt at comforting, I dunno if Simon’s little ‘the only problem with that universe is that this Alternative Me was terrible because he didn’t even acknowledge or remember Betty as the love of our life and the light of my entire universe’ thing is actually Good. 

I’m not quite sure Simon is the best person to teach Fionna and Cake heroism 101, because he is so focused on the Crown Quest as the thing that brings back Meaning to his life, and because his fatherly instincts just kinda go “Sad Young Person???? MUST GIVE COMFORT!” and also on account of the kidnapping.

I’m sure Fionna is going to become the heroine she dreams about eventually, it’s just going to be a bumpy ride. The best we can hope for is that they accept Simon’s comfort, that she doesn't start believing that she is nothing but an Error for the entire universe like the Scarab claims, but don’t necessarily listen to all of Simon's his words either.

[save-the-villainous-cat]

I was rereading the hero x vampire heat season snippet you wrote and was wondering if you could do a similar one? Like a hero that is very shy and embarrassed about being attracted to villain, and maybe even really likes the villain's voice, and the villain teases and/or reassures them it's totally normal/okay?

No pressure at all, and regardless of whether you answer i hope you'll have a wonderful day! <3

“Did you know—” the villain’s lips were dangerously close to the hero’s burning ear “—I find your fangs adorable?”

The hero hadn’t expected a kidnapping to turn into this, to turn into a romantic conversation by the fireplace. It was cruel how sweet the villain could be. The hero had been nervous enough already when the villain had asked them kindly to get into the car.

Kindly with a gun pointing at them.

The hero had been shot before and they knew from experience that it wasn’t a particularly nice experience.

“Those fangs could rip out your throat,” the hero said. Slowly, the villain drew shapes with their index finger into the hero’s thigh. That was cruel, too. The villain knew they were sensitive, especially today.

“Wouldn’t that be wonderful?” the villain asked. “That way this spluttery mouth could finally shut up and find some peace…my colleagues hate how much I talk about you.”

“You’re mean,” the hero said. They could feel themselves slipping back into their desires. There was a line, a very fine line between control and instincts and somehow the villain managed to dance on that line with the hero perfectly.

That had its own perks. Sometimes, the hero welcomed the challenge. But not really today in particular. Some days were more manageable whereas on others the hero felt like a wild animal.

“You asked me to do this, don’t you remember?”

“I asked you to make sure I wouldn’t kill any people,” the hero said. “And that I wouldn’t go crazy.”

“And I’m doing that. This is called damage control, darling.” The villain leaned over and the hero could feel their soft breath on the hero’s neck. “I hope you like it.”

“Curse you,” the hero whispered. Instinctively, they cupped the villain’s jaw and pulled them close enough for their cheeks to touch. “You know what this does to me.”

“Poor hero,” they mused. The villain’s hand travelled down to the hero’s knee. “Tell me, dear. Is my heart beating fast?”

They took the hero’s hand and pressed it against their own chest.

It nearly broke the hero. Desiring someone was one thing. Being subdued to their own nature was humbling and embarrassing. It was something that plagued them regularly.

But being desired? Someone feeling the same things they did? Someone who was willing to treat them this well…?

The hero swallowed.

A while ago, some people they had trusted had treated them like an animal. They’d been imprisoned for being a vampire. Those people had promised them to keep others safe from them but it had been raw torture. And now, the villain let them walk around freely. They gave them delicious food and tasty drinks.

They spoiled them.

“Can you feel it? Can you tell how fast my heart is beating?” the villain asked. Their voice was deeper now, more alluring.

“You…”

“You want to bite, don’t you? Sink your teeth into my neck and suck…”

“I shouldn’t—”

“Why not?” the villain asked. Gently, they grabbed the hero’s hips and pulled them towards them until the hero was sitting on the villain’s lap. In response, the hero gasped softly and held onto the villain’s clothing. “Hm?”

“…I shouldn’t even like you in the first place. We are enemies.”

“And yet, you asked me to take care of you.”

“…maybe.” The hero closed their eyes. The villain’s heart was beating fast but it wasn’t only desire. They were nervous.

The hero wasn’t sure if the villain was nervous because of them or something else.

“I trust you,” the hero said. “I believe that you will make the right choices when it comes to me. I can’t explain it but…you can deal with me. You can handle me. You know what I need. And that is kind of scary.”

Despite the villain’s endless advances towards the hero, they had never forced the hero to do anything. They always let the hero make the first move.

“It’s perfectly normal to be attracted to me when you’re…in this state,” the villain said. “I will not—”

“That’s the problem. It doesn’t stop once this phase is over. It never really stops.” The hero’s ears were burning and they could feel the villain’s heartbeat increase quickly.

“We should get some band aids for my neck then,” the villain said.

The hero couldn’t tell who was more excited.

[nixwriteschaos]

Lets assume overhaul had a son who is the same age as the class with his or a similar quirk. we can assume he wasn't the best father. but picture how awkward Izuku and Mirio might acts around him if he gets thrust in the class. Bonus points if he Izuku says sorry about beating overhaul and his reaction is just ehh I wanted to do it myself.

A Little Too Alike

Izuku Midoriya x Overhaul’s Son Male!Reader [PLATONIC?] Summary: After Overhaul was arrested, his son was taken in by U.A along with Eri. When Mirio and Izuku found out, let’s just say it was very awkward…

★☽A/N: I seriously had no idea what to do with the insert character so I just wrote BNHA… Anyways, I have no idea whether my writing has gotten better or worse! Please tell me… I don’t know at all 😭

Contents: FLUFF - COMEDY?

  ‿̩͙‿ ༺ ♰ ༻ ‿̩͙‿

As everyone from the yakuza group was getting taken away, arrested, one of them looked awfully similar to Overhaul. Midoriya, shocked, walked towards him and turned him around, only to see gold colored eyes, similar to of Overhaul’s.

“Woah, Midoriya!” A hero ran up to them, stopping Midoriya from doing anything else. “Who is he? Why does he-” The hero shushed him, trying to get the young hero in training to calm down. “We’ll explain everything once everything settles down.” Midoriya watched as the striking double of Overhaul walked away with the other yakuza members.

After that, the weeks that went by were dreadful. He couldn’t stop crying for days after Sir Nighteye’s death. He tried to smile at his funeral, but he knew he couldn’t keep up a smile like Mirio, just like how the hero wanted. Even though his friends tried to comfort him, he still didn’t feel much the same.

It got worse when someone was introduced to his class.

It was the carbon-copy of Overhaul, the same male he saw last time. His blood boiled at the sight, but remained as calm as he could. As Mr. Aizawa introduced the young male to the class, the students that joined the raid were surprised by the last name.

“Y/N Chisaki.”

He had the same last name as Overhaul, also known as Kai Chisaki. A few of them started to get defensive of him. “He will be joining us from now on.”

“Mr. Aizawa. I mean no offense but why is he joining us? Kero.” Tsuyu asked, a bit curious. “Some of you may know this from the news or actually being there. A villain named Overhaul was arrested and this is his son.” Students who didn’t know were surprised to hear this.

A villain’s child was joining them?

“Are you sure, sir?” Kaminari asked. Mr. Aizawa nodded and told Y/N to sit in the back beside Todoroki. He nodded obediently and walked towards the empty seat, nodding as a sign of acknowledgement towards Todoroki who did the same.

  ‿̩͙‿ ༺ ♰ ༻ ‿̩͙‿

A few weeks went by and the class had started to trust the young male. Even though students who were on the mission, Kirishima, Uraraka, and Asui felt awkward around him, they managed to trust the male enough to talk to him normally and have a fun time.

When Mirio found out, he was actually cheerful about it. He said, “I think it’s a great opportunity! He could go down a different path from his father! A bright future!” with a smile on his face.

Midoriya sighed at Mirio’s statement. Everyone was moving on from this but Midoriya wasn’t!! He didn’t know why he couldn’t move on, he just couldn;t! Every time he saw Y/N, he felt a sense of rage.

Perhaps he was seeing Overhaul in Y/N. The striking resemblance was uncanny. His brown hair, his gold eyes, everything about him screams Overhaul. But he knew he had to make this right. If he wanted to continue to train to be a hero, he needed to move on from the past.

“Hey… uh… Y/N?” Y/N turned around, gold eyes sending shivers down Midoriya’s spine. He sighed shakingly. He bowed down as he hurriedly said “Uhm… Sorry about beating your dad!!” with a loud voice.

No response.

He lifted his head up, finding a confused face.

“Huh..?” Y/N tilted his head in confusion. “Uhm… it’s okay..” he muttered softly.

Let’s just say… He was embarrassed.. Like- to the point the poor boy was blushing hard in embarrassment.

  ‿̩͙‿ ༺ ♰ ༻ ‿̩͙‿

[satoshy12]

Shazam Billy Batson x Dani

Dani was already a few weeks outside of Amity Park, trying to find her own kind of thing. And as Danny sends her money, gold, or whatever she wants from the Ghost Zone, She didn't even have to look much for money or something similar.

So she started to be a villain, just as Danny was a hero. She wanted something else! And this way the After a short time, she had a new power.

To change from her child body to an adult body. That way, she is getting better at this, and her secret identity helped aloud.

+

Billy Batson, also known as Shazam or Captain Marvel, had no idea what to feel about the new thief in town.

On one hand She is a thief, and on the other, she steals from the evil rich. So what should he do? And as he found out, she was like a child in an adult body; he had no idea how to feel.

But over time, he found ways to have fun with her, fighting her and spending time with her in civilian form.

The gods told him he was in love and he should court her. But as a hero and a villain, he has no idea what to say. So Solomon told him to ask if it's okay to ask Batman.

So he asked Batman about what to do when he was in love. And Batman gave him permission to ask her on a date and follow his heart.

+

While in a battle with Phantom, Shazam said it loud and clear: "I love you! I knew from the first moment we met that you were the only one for me. I just needed to tell you that."

Dani was shocked as she blushed, let the stolen goods fall to the ground, and looked at the hero. "Wo wo wait! We are mortal enemies! Have you lost it!?"

Shazam wasn't sure what he did wrong. The people around them looked just as shocked. "I am perfectly sane."

Dani looked at him, unsure; she knew him as Billy, but she didn't think he would ask her as a hero after all, she is a villain." "Yeah, I am not buying it, your justice friends would be angry."

Billy: "No worry, Batman gave me permission, so no fear."

Dani stopped when she heard about Batman dating Villainess, so maybe he is telling the truth. And with one punch, she punched him to the ground as he crashed.".... Pick me up at 7 pm! And don't you dare to be late!" And then she escaped.

Billy is not sure: "So that was a yes?"

Civilians: " Yes, that was a yes. Get ready for your date, my boy!"

Billy really had a Pretty supportive city. After all.

+

In the Watch Tower.

The newspaper talked about the villainess and hero romance that Shazam was doing.

Oliver:" So... you want to explain?"

Diana:"Yeah, what were you thinking?"

Billy:" But Batman said it's okay... He gave me permission to follow my heart."

++

A/N

Danny doesn't accept that Dani is a villainess. So whenever someone says something about that he refuse to accept it.

Adorable Dani stays a good girl!

So people around him gave up, as even Jazz saw it that way.

[autumnmobile12]

So we know that when Quirks first appeared, villains started making grabs for power, vigilantes appeared to stop them and restore the normal order, and some people went about forming their own dynasties with people who had similar powers.

Personally, I really want to hear more about the environmentalist vigilantes who ignored the immediate chaos and just took off to undo the harm humanity caused to nature.

People with ice Quirks who formed a coalition and rebuilt the arctic and antarctic circles.

A random person with a Quirk that allowed them to breathe in carbon gases and exhale oxygen, so they just took a couple hours out of their day peacefully reading books near a factory complex while advocating for cleaner emissions in the meantime.

The ones with plant-based Quirks stimulating plant growth in deforested areas.

Someone with an accumulation-type Quirk who could consume plastic and convert it to energy.

Other Quirk-users specifically targeting poachers

Electricity Quirk-users forming power companies of their own and stamping out the more harmful competition.

People who can talk to animals teaching animals hunted for sport (or harvested for medicinal remedies that don't work) how to avoid hunters and traps.

In the eyes of large corporations, some of these people were probably relegated to the status of villains and may have been targeted by the proto-Heroes as such, only to be met with the controversy of environmental advocates against environmentally destructive companies.

Fictional nations like Otheon and Klayd have sprung up in the My Hero world, so it stands to reason there are other new nations as well. Like if these early advocates carved out territories of their own and now areas like the Amazon or pockets of the savannah and taiga and other threatened ecosystems are currently independent oases thriving in the world.

All things considered, I feel like for all their societal problems, the My Hero world is a world that at least has its environmental stuff sorted out.

[in1-nutshell]

I know I just made a request that is similar but Can I request a scenerio where the batfamily have the buddy with the symbiote living at Wayne manor basically becoming adopted by Bruce? They do their best to protect the innocent and somehow become well acquainted with some of the roughs like harley quinn, poison ivy, and even killer croc.

More Venom Buddy!

Hope you enjoy!

Bat Buddy with Symbiote with Harley Quinn, Poison Ivy, and Killer Croc

SFW, Platonic, Slight Familial, Human reader

BATFAMILY

Buddy was adopted by Bruce before they bonded with Venom.

They had been training to be a hero with Batman before a certain field trip left them with a friend for life.

Well, it didn’t start that way with the side effect of the bond showing first.

It took the combined efforts of Dick, Barabra, Jason, Tim, Stephanie, Duke and Damian for Bruce to realize something was wrong with Buddy.

When Bruce got out a needle to take a blood sample, Venom mistook this as an act of violence and ‘defended’ his host.

After a lot of screaming and yelling later, Buddy is explaining how they got bonded with Venom.

The symbiote perched on their shoulder giving Bruce the stink eye.

It took time for the Batfamily to get used to the new normal with Buddy, yet they knew that they would still be a bit of an outlier amongst them.

Thankfully they found friends in unlikely places.

Harley Quinn and Poison Ivy

The three of them had a pretty good relationship before they had bonded with the symbiote.

Buddy liked hanging out with the pair after patrol if they promised not to create big disturbances.

The pair was probably one of the first to notice Buddy’s body changes when they were first bonded with Venom.

Harley cupping Buddy’s face: “Geez hun, you look sick.” Buddy gently pushing her hands off their face: “Its fine Harley.” Harley: “Maybe take some meds, get some sun and eat a bit more.” Harley looks at Buddy worriedly: “You’re growing a bit too thin Bud, your still growing!” Ivy handing Buddy a couple of fruits: “Eat these now. Then we talk about your diet, I can smell the tater tots and chocolate from your jacket.” Buddy stuffing their face with an orange: “Not my fault they taste so good…”

It was a little while later that Buddy decided to trust the antihero duo with Venom’s secret and new alias.

Yes, they were freaked out a bit.

Yes, Harley threatens Venom if he ever hurts their favorite Bat.

Ivy wanted to find out a safe way to get Venom and Buddy separated without killing the other.

A week later the four of them are having a movie night, face masks, popcorn bowls, face masks (yes, they somehow managed to get one on Venom), LOADS of chocolate, and fluffy blankets and matching PJ’s.

Buddy sandwich between Harley and Ivy while Venom’s head was happily getting fed chocolate by Harley

He denies any purring.

If Venom heard that the pair was in trouble, he would immediately take over and come to their rescue, not that Buddy would have much to say about it.

Killer Croc

Waylon was a special case.

Buddy had a ‘bad habit’ as their siblings would say, of visiting some of the asylum patients by themselves.

Venom would later agree with them once he found out about this habit.

They had made it their mission to make sure that the villains were getting proper treatment and the help they needed.

Croc was one of the harder patients to crack.

But they made sure to always visit him whenever they had the chance to go into the asylum.

Croc soon began to look forward to their little meetings.

Knew right off the bat that something was wrong with Buddy when they first came to him after bonded with Venom.

Killer croc looking at a pale and exhausted Buddy. Killer croc: “You okay kid? You look dead.” Buddy nervously laughing: “I’ve been worse Waylon. I’m fine.” Killer croc: “You look anything but fine. You sure that you don’t have a parasite--” Venom coming from Buddy’s shoulder: “PARASITE!?” Killer croc jumping a few feet back: “GEEZ!” Buddy rubbing their head: “Here we go again…”

After a lot of talking, persuasion and promises of another 2 boxes of chocolate, Venom calmed down enough to explain with Buddy their new relationship.

Croc was worried about Buddy even more now.

What if their family found out?

What if some scientist did?

Or the government?

Or worse… Amanda Waller finding out.

He lets them know right off the bat that if they ever needed a place to lay low that to come to him no matter what was after them.

While also threatening Venom and making him promise to keep them safe.

There was a lot of hostility between Croc and Venom for a while, until the two started talking.

They could agree on two things.

Humans and heroes sucked sometimes.

And they needed to protect Buddy.

[codenamesazanka]

the leaks:

skimming through the entire chapter 431 with my rough translation skills.

Uraraka's Quirk Counseling expansion seems to be her (and Tsuyu) trying to single-handedly screen for problems and child abuse by spending one month at every single (elementary) school/school district? They're helped by volunteer heroes.

She's also helped by Hawks, who negotiating with the Ministry of Education, Culture, Sports, Science and Technology and other organizations to provide support to change quirk education.

She is the best hero. 😭😭😭

My worries about quirk counseling have been slightly mollified by this. Slightly. It's geared towards very young children, and we don't see the actual counseling, just Heroes spending time with kids to make sure they're not showing signs of distress, but it's nice to see this tiny glimpse.

Uraraka has dreams about Toga, and wonders if Toga left her blood/quirk/will inside of Uraraka similar to how OFA functioned. Uraraka can't remember the content of the dreams, though, and wonders if Toga is trying to send her a message.

Deku says he's developed a policy to help students develop their quirks. He also goes around to elementary schools and facilities and give lectures, sharing his experiences with young girls and boys.

Shouto has taken up pottery-making classes, after thinking a lot about fate and inevitability and his path

The entire class mobilizes to capture a car thief who may or may not have used his quirk - alert said that if he does just his quirk, it might cause a big accident? idk about this part.

When Deku asks Uraraka out, Uraraka finally remembers her Toga dream, which is Toga telling her that just like how Toga lived as she liked, Uraraka should live as she likes. So Uraraka says yes to going out with Deku.

.☠️☠️☠️.

Laughing so hard because 'go live as you please!' is so Toga! It's Toga's ideal and guiding principle. She clung to being her quirk-influenced, bisexual-love, creepy-smile self, fighting to love and die as herself. She would be happy for Ochako following her heart! But did it have to be the most conventional hetero cutesy romcom shit.

The OFA-esque accumulation of will and power of Toga's quirk and love and ideals............... to encourage Ochako to date Deku.

I don't believe the League is mentioned at all by name except for Toga via Uraraka's dream, and one line from Shouto saying he was praying at Touya's altar (thus confirming that Touya is dead).

AFO is mentioned but in context of young heroes deriving their impressions of heroism from the AFO battle? idk about this part.

Two flashbacks to Shigaraki, from Deku.

First is Deku flashbacking to him inside Tenko's heart, holding Tenko's hands, as he talks about how even if he had OFA, he would still come to want to be a teacher.

(Feel like this is interesting because AFO has always been 'Sensei'/teacher to Shigaraki. In a way it feels like Deku is trying to be a Good Teacher to AFO's Bad Teacher, I guess?)

Second is Deku ruminating on Shouto's talk about 'inevitability' and how he's doing everything he wanted, and he's blessed. He flashes back to Shigaraki's "Really, do your best," which is when he also notices Uraraka laughing and get heart eyes.

So i'm laughing again that even without a dream ghost, Shigaraki's words about destruction also gets used and recontexted to fuel Deku/Ochako.

Did that extra panel of Shigaraki's almost-smile in Chapter 423 come about just to give us this ~*~parallel~*~???

It's pure gold. Villainous creeds (Destroy everything / Live as I please) ultimately used to not even prop up the Heroes doing heroic stuff related to the society that the Villains were rebelling against... but rather to get Deku and Uraraka on a date.

[bibibbon]

MHA mustard deserved better

Mustard is a character that many of us forget but surprisingly his character really stuck to me for some reason.

Mustard is around 13-14 years old and was part of the training camp attack. His quirk is known as gas and looks very similar to midnight it also has a very similar effect to midnight's. I think that it's such a shame that his story was never explored and that we never got much of what happend to him. We don't even see him in the final arc. All we are told is that mustard is captured by the police after the attack and is then imprisoned to never seen him again.

I think that if MHA wanted to truly and properly redeem villains or explore the idea why villains became the way they are we should of gotten more exploration when it came to mustard. You can easily assume that mustard probably had a horrible life that drove him to villainy because how is it that you become a villain and don't have enough of anything to change out of your middle school uniform. How is it that a 13-14 year old knows how to wield a gun and there are so many more questions like how was mustard treated?

Personally I would have it so that we are shown more about mustard. How did he end up where he is? How did shigaraki even allow him to join? Did he somehow stumble or was in the wrong place at the wrong time and just got swept by the crowd? Who taught him how to wield a gun? And so many other questions to build his character. Mustard felt like an empty character with wasted potential. From the little amount of screentime we can tell that he acts like a child and is a bit annoying like a middle schooler would be but he definitely acts,fights and does so many more things above his age. I personally would be more interested in a tiny arc to explore how society failed mustard. Why is his name mustard anyway? He is one of the only characters who we don't know his real name so does that mean mustard could of been a name a bully gave him?

For some reason thinking about the character of mustard distinctly reminds me of middle school Izuku midoriya. They seem ironically similar in a way🤷‍♀️.

Also can we talk about how after he gets captured nothing really happens. Like where does mustard go? He is too young to go to prison so does MHA have something equivalent to a delinquent center or juvenile detention? Do they just let mustard rot in jail? Does mustard have a family that tried to fight his case? Did the family get any backlash (like toga's family)? So many questions to think about. Was there or could of there been a rehabilitation programme out up for mustard. Like mustard is young and shows a lot of signs that say "society failed me" or something similar so was there or could of there been something similar to that.

I personally think we should of gotten some mustard and midnight interactions. They have similar quirks with similar effects one became a hero the other a villain they don't have many differences I wonder if midnight struggled with her quirk I wonder how she would interact with mustard.

[kb-jank]

so I've been rewatching Static Shock because of @bearsspace 's Duke and Virgil art, and I'm not even a season in and its already so clear how good they'd get along.

Like Virgil's story focuses on not only actual racism and systemic issues, but the allegory of race within the bang babies/metahumans. Duke's story also does this with We Are Robin and Robin War; the robins are a group of mostly disenfranchised kids who rise up to protect themselves and their communities while being targeted by cops. WAR also makes direct comparisons to racism/systemic issues.

Besides their stories having some similar themes, they're also similar in the way they interact with their communities directly. (Let me mention here that Duke's mom and Virgil's dad are both social workers). Both Duke and Virgil are able to talk and connect with the people they're saving, and this includes the "villains" they encounter who really just need help (ohoho! another part of their stories connected to systemic issues).

Of course a lot of heroes do this but it's special for Virgil and Duke. Virgil's able to connect and help his foes not only because he's a bang baby, but because the standing he already has in his community. Like he spends a lot of time at the community centre and it means a lot to him. One of the things I really love about Virgil is that if he wants to get info on someone he starts knocking on doors and talking to people. It's special for Duke because not only does a big part of his story centre around bringing a community together to protect itself, but in contrast to the rest of the bats, his whole thing is LITERALLY being in the daylight. Like the whole premise of his character is being a beacon, Duke will always have a connection with the public the rest of the bats can't.

I also think it's really funny how both of them almost immediately become superheroes the first chance they got. Like Virgil's bestfriend is like, "You could be a superhero!" and he agrees instantaneously and does it. Duke's kinda just like, "Ugh, I GUESS I'll join this group of vigilantes if you REALLY want me to!" and "What? You want ME to lead this vigilante group? Aw shucks well SOMEONES gotta do it!" and "Not like being a vigilante is important to me or anything but I will literally let nothing including Batman's trained sidekicks stop me." then he jumps out of a moving cop car off a bridge.

[linkspooky]

Dr. Venture vs. Enji Todoroki: How to Write Bad Dads

This is a post comparing two shows about two abusive dads who are the main characters instead of their children. My Hero Academia is a Shonen jump manga that takes inspiration from American comics and shonen manga. Whereas The Venture Bros is an adult swim cartoon that started out as a parody of Johnny Quest, and grew into a seven season long character study of former child star Rusty Venture.

The idea for this post came from the fact that I've noticed a common hot take from MHA fans that Endeavor's redemption arc is bad because it's wrong to make an abuser the main character.

I've always disagreed, and used The Venture Bros as an example of a show where making an abuser the main character works. Rusty is actually a well-liked character in the venture bros fandom. So my question is if these characters are both abusers why is one of them generally accepted and the other one so controversial?

Before we begin I want to say this is a story with fictional characters. Don't bring real life into the equation. We are doing literary criticism here and only talking about the events that happen in the story.

Anyway, My Hero Academia and The Venture Bros seem like the weirdest shows to compare but they are actually pretty similar. They are both comic book shows that are commentating on the comics they're inspired from.

What My Hero Academia is to Spiderman and Dragonball Z, Venture Bros is to Tom Swift Novels, the Hardy Boys, and old Hanna-Barbera Cartoons. They also make the decision to focus on the characters as people rather than heroes. They are telling the stories of real people that exist in a world overflowing with both heroes and villains.

1. Meet the Venture Brothers

If you've heard of the Venture Bros then you've probably heard of the premise that it's an adult parody of Johnny Quest. Johnny Quest for those of you who have a life and therefore haven't seen every old Hanna-Barbera Cartoon like I have is a show where eleven year old Johnny Quest travels around the world with his super scientist father Dr. Benton C. Quest and their bodyguard Race Bannon, going on adventures in Jungle Ruins or fighting villains.

In the Venture Bros the main character Dr. Thaddeus Venture is an emotionally abusive and neglectful father who constantly exposes his sons to danger in his trips around the world. Their bodyguard Brock Samson is a ultra violent and is basically a thirteen year old's idea of what a cool manly man is. The titular Venture Bros, Hank and Dean Venture are sheltered children who are constantly being chased around by men in costumes trying to kill them.

So the basic premise of the show lies in it's dark deconstruction of shows like Hardy Boys, Johnny Quest, these Tom Swift-esque stories where young boys go on adventures by showing the real dangers that children would be exposed to in that kind of life.

Between Johnny Quest, the Hardy Boys, and Tom Swift, what is up with these pie-eyed youths chasing pirates and international diamond thieves and stuff like that? They would get their throats cut the minute that stumbled upon a hideout. And that would be the gag. - ART AND MAKING OF THE VENTURE BROS.

The show does explore Hank and Dean's trauma, but despite the title of the show they are not the main characters. The protagonist is Doctor Thaddeus Venture who himself is other victim of the Boy Adventuring Lifestyle.

Dr. Venture: "Who was, for 43 years, the only son of Dr. Jonas Venture? Who, from the ages of 3 to 17 accompanied him on hundreds of adventures the chilling memories of which rouse him from sleep in a cold sweat to this day?"

Thaddeus used to travel around the world with his father the super scientist Dr. Jonas Venture who was a far more successful super scientist and hero. He's the former star of the "Rusty Venture Show" a cartoon based off of his travels with his father.

Jonas who continually neglected and gaslit him throughout his childhood to the point of not allowing him to go to therapy. He gaslit him so hard there's a scene where he literally pretends to be Rusty's therapist to tell his son to stop complaining.

Rusty: "So I don't know. Sometimes I wish I could just be a normal kid and go out and play with kids my own age and stuff. The only people I get to hang out with are grown ups. The only time I get to leave the compound is to go someplace creepy, like the Bermuda triangle, and then I get kidnapped, by grown ups. And I'm not even sure I want to be a super scientist when I grow up anyway, but I feel all this pressure because of my fa-It feels weird telling you this stuff." Jonas: "Remember Rusty, in here I'm your doctor not your father. Now let's get back to it shall we. You were telling me how you're ungrateful for all the opportunities your father's given you and you blame me for all your problems."

Rusty is both a washed up child star, and a faiilure to his father's legacy. He never formed an identity outside of being the star of the Rusty Venture show or the son of Jonas Venture. He drags his kids all around the world on crazy super science adventures because that's what he knows.

The central premise of the Venture Bros is that Rusty is basically stuck and cannot meaningfully grow up into an adult and his own person, despite the fact he is now a single father trying to raise two sons. The central theme is about three generations of one family, and what it says about the complicated nature of family itself,

As Rusty is both the victim and the perpetrator of the abuse it makes sense he is the main character the story centers around because he's the central link between Jonas and the Twins.

The themes can be summarized in one line said towards the end of the show:

BEN "Just a watch. Tells the time in two time zones. That fourth hand there? Little date window? Those are called complications. Complications make a watch special. More complications the more value. Read the engraving Jonas put on the back there. Elige Tua. It's Latin for Choose your family. Blood doesn't make a family, love does. Choose your family and remember that complications make it special."

In other words it's a seven season long show on how family is complicated.

2. Keeping up with the Todorokis

My Hero Academia is about a lot of things, but the central premise is that in a society where he quirk you were born with can determine a lot about your life, one boy without a quirk sets out to prove that anyone can be a hero.

If Complciations make it special is the central theme of Venture Bros, then the central theme of My Hero Academia is two sentences. "All People are not created equal" and "Anyone can become someone's hero" both said at different points in the story. The story itself is about Deku's attempts to overcome the first statement, that he was not born equal but he deserves to be a hero as much as anyone else because he represents the true spirit of heroes. That heroes don't just show up to beat the big bad, a hero saves people.

The story isn't just about Deku though. We're not even going to talk about Deku in this post, but rather the Tritagonist Todoroki Shoto.

Todrooki is introduced as a foil to Deku someone who is born with an extremely powerful quirk, but who's been groomed from childhood to be a hero.

Shoto's father Enji Todoroki is All Might's ultimate rival. In the world of MHA hers are highly commercialized and ranked by popularity and achievements and Enji has been number two his entire life. He decided to conceive of an heir that could surpass All Might instead.

He purchased a wife with an ice quirk for an arranged marriage to selectively breed for a child with a fire and ice quirk. When Shoto was born he raised Shoto up as a hero, forcing him through grueling training sessions from a young age, and beating his wife when she tried to intervene for Shoto's sake.

That's a lot and I didn't even cover all of it. After this reveal of Shoto's backstory, Enji seems like he's only going to be a one note abuser to give Shoto a tragic backstory to angst over.

However, later on in the show Enji ifinally becomes the number one hero only to realize how empty his lifelong dream has been. He feels remorse for the family he destroyed in pursuit of that dream and starts wanting to make ammends. After this , Enji basically becomes the second most important character of the "Todoroki Family" arc. . A lot of focus is put on Enji's attempts at atonement to the point where some accuse him of stealing the spotlight from his victims.

These two families have a lot in common. They are basically families who are not allowed to have normal lives because the patriarch of the family is a costumed hero. The hero is also someone who is generally well-respected and is considered extremely successful in their chosen career, but are terrible to their family members. They are a hero to the world and a villain to their own family.

If there is a central premise to the Todoroki Family outside of MHA's analysis of what exactly makes a hero, it's this:

Todoroki Shoto: "As a hero this endeavor guy is pretty darn amazing. But it's just like Nasu said. I'm not ready to forgive you... for abusing mom. So, heroics aside. What sort of dad are you going to be? That's what I want to find out?"

The challenge is if Endeavor can choose his family over being a hero.

You can se the parallels in Venture Bros, as Rusty's main struggle is to try to be a father to his twin sons and help them grow up while at the same time struggling in this dangerous worlds of super science. Rusty is a super scientist constantly getting chased around by guys in costumes, but he's also a normal father trying to raise two sons into adulthood with basically no idea what he's doing because he doesn't have a frame of reference for how fathers are supposed to act or what a normal childhood would even look like.

The comic book super scientist, and the comic book hero are expected to act like real fathers to their sons.

However, as I said above in Rusty's case it's pretty uncontroversial that he is the main character of his story, whereas Enji starts fights within the fandom very time he appears onscreen.

Why is this exactly?

It's not because it's offensive to have an abuser be the main character, but rather how these characters are written and how well they fit into their stories. As I said Rusty is naturally the main character of his story because he's the central link in the chain of abuse, but should Enji be the main character of the Todorokis? Does he fit as well as Rusty?

3. Who's your Daddy?

So as stated above Enji and Rusty simultaneously exist in worlds where heroes exist and yet they are also normal people who are expected to provide for their families and raise their kids. They both exist in what is basically the marvel universe, though in the case of Venture Bros it's the Marvel Universe fused with old Hanna-Barbera cartoons.

Because of this world some of the things both Enji and Rusty do are things that have no real life parallels. For example Rusty once created a machine using the soul of a dead orphan as a power supply. You can't do that in real life so I'm not going to use that as an example.

Both of these stories are drawing on real life parallels of parental abuse I'm going to be talking about those to tell what kind of neglectful parent each is.

Rusty raised Hank and Dean Venture as a single parent with the assistance of their body guard Brock Samson. They live on the Venture Compound and only leave when Rusty needs to take a trip around the world. Obviously, there's not many real life examples of parents taking their kids into egypt to fight mummies.

However, Rusty's main flaw as a parent is how much he shelters his children not allowing them to make their own choices. They are homeschooled until they are eighteen and almost never allowed to leave their home unsupervised. Rusty could be compared to a helicopter parent that feels the need to micromanage every aspect of their child's lives, sheltering them so much they're unprepared for the real world.

Rusty is a weird combination of controlling and neglectful, because while he doesn't let either of his childre go to public school aor interact with kids their own age, he constantly exposes them to danger. He is often disinterested in his kid's lives and puts most of the burden of protecting them and raising them on his bodyguard Brock, while he chases after whatever super-science project is occupying him at the moment. He's neglectful to dangerous extents too considering they're always getting cahsed around by crazy men in costumes.

Also, he lets them die a lot.

Hank and Dean have died several times over, only to be replaced by clones that Rusty grew in a lab with all the same memories. Once again there's no real life parallel to this, but it's interesting in the context of the show itself.

How do these children survive being chased by villains and constantly kidnapped? The answer is, they don't.

They die, and then Rusty just clones a new pair of boys. That in itself should make Rusty irredeemable but the show presents it in a more ambiguous light.

Dean: "You're telling me I'm a clone, that I'm not even Dean, that I'm some stupid science experiment." Ben: "No, no, no. You're Dean. There's no other Dean, you're it, flesh and blood. Look I was conceived in the back seat of a packard, you were conceived in a tank. So what?" Dean: "So I have no mommy? No nothing!?" Ben: "Dean, you have it all wrong. You have a mommy, and your dad is your dad. They made you by getting drunk and forgetting to wear a condem like everybody else, and your dad loved you so much that when you got a boo-boo, he kissed it and made it all better and made it go away." Dean: "You brought me back to life." Ben: "Yeah okay, well you and your brother had some pretty big boo boos. Have a kid one day, Dean. Hold it's lifeless body in your arms, and then tell me how wrong it is. Jonas, me, and yes your dad, saw it as nothing more than a fucking band-aid for a really big boo boo."

In the story itself it brings up the argument that if any parent was holding their dying child in their arms they'd want to bring them back somehow. That in the logic of the show it's the same as using magic to revive someone from the dead. At the same time it's not because Rusty's let his sons die multiple times and never changed his lifestyle because he can just keep replacing them with clones.

Super-science aside, it is kind of a metaphor for Rusty's parenting as a whole that his sons have been cloned and replaced so many times they're perpetually sixteen and never allowed to grow up. Rusty's so neglectful he's never taken an interest in raising them and this is the result, they literally do not grow up.

It's also probably relevant to mention that Rusty himself is a clone and died and was replaced multiple times much like his sons, and the technology for cloning Hank and Dean was invented by his father Jonas.

However, after season 3 the cloning lab gets destroyed, and the body guard Brock leaves the family. With the safety net removed Rusty actually starts taking a more active role in both of his child's lives. This is basically a mirror to Endeavor's moment of realization after getting number one hero that his entire family has grown up without him and they all resent him.

Season four onwards Hank and Dean develop into their own people outside of Rusty. He responds to them in different ways but he's actually parenting them this time instead of shoving them away like annoyances. Hank becomes rebellious and fights back against Rusty for a long time after Brock leaves because he no longer has a role model and Rusty's response is to always get strict and punish him.

Whereas when Dean rebels not only does Rusty tolerate it, he also spends a lot more time in Dean's life trying to push him into the direction of being a super-scientist like him, supporting his efforts to go to college, while basically ignoring Hank. It's a running gag in the show that Dean is obviously Rusty's favorite, but even when playing favorites Rusty by this point in the show has reasons for why he's making those parenting choices.

Rusty: "Dean believes in this crap! He should have been Rusty Venture, Boy adventurer. Hank got this life thrown at him. And he fights against it. Just like I did."

Rusty playing favorites comes from an attempt to overcorrect for both children. He rejects Hank because he believes Hank doesn't want to be a boy adventure and therefore pushing Hank away from his family and the Venture lifestyle is what he needs. Whereas, he believes that Dean embraces the super scientist lifestyle and he tries to mentor Dean into another scientist like himself therefore he gives Dean most of his attention because he thinks Dean needs that guidance from him.

Of course, Rusty is totally wrong about his sons. If anything Hank is the one who wants to be an adventurer whereas Dean just wants a normal life away from his crazy family but parents often misunderstand their children. He's not actively malicious, he's just misguided in what he thinks is best for each of his sons. He's not really even playing favorites in this case he's choosing to parent his sons differently based on what he thinks is best for each of them, it's just in this case father doesn't know best.

Rusty isn't a stagnant character, but also there's no big redemption arc for him the way there is Endeavor. Rusty never narrates about how he needs to atone for his past mistakes. The result is Rusty is a far more amoral character than Endeavor because he's not trying to atone but the narrative also isn't trying to spin Rusty in any way. It's just showing you Rusty as he is, and with all the bad things he does he's still capable of loving his sons.

The question isn't really "Is Rusty redeemable?" but "When is Rusty gonna grow up?"

Then there's Endeavor (everyone starts booing) who is simultaneously a much better, and far worse person than Rusty.

Enji is honestly more comparable to Jonas, an incredibly successful hero who built a career and an empire in heroics and fame and then tried to force his son into that same lifestyle.He's the exploration of that same idea a supposedly great man with skeletons in his closet. Enji technically has saved thousands of people (such as Hawks one of the other main characters). A person who is so good at playing the role of a hero no one would ever expect there are skeletons in his closet.

"Rusty's father was more successful than you could ever imagine. Jonas Venture Sr. was a manipulative narcissist admired by the world for his scientific accomplishements and his hyper-masculine James Bond meets Doc Savage public persona. He's a geniuine villain who was able to take everything he wanted from the world by seamlessly fitting into the role of everyone's hero." [Source]

Jonas is like showing everything nasty about using someone like James Bond as a male power fantasy. He treats women like objects, he thinks he's aboe good and evil, he's effortlessly charming and suave and uses that to get what he wants out of people. Enji similiarly is everything that is wrong with the ideals of hero society. A society that glorifies flashy, strong quirks that are the best for taking down villains. The only person who even seems to care that he's number two is Enji himself, beause Enji is otherwise rich and succesful, a pillar of the hero community, and allowed to get away with a lot because of his position and influence.

Enji is at least a better hero than Rusty, because Rusty is an incompetent mad scientist who does stuff like mutate college interns into four armed freaks and build death rays.

However, as a parent strip away his status as a hero and Enji is little more than a show parent, pushing his children into a life they don't want in an attempt to live vicariously through them. Once again, resembling Jonas more than he really does Rusty. As Jonas forced Rusty to be a boy adventurer, and then made a cartoon out of it to make money like any show parent.

It's also the idea that generation put that kids into films and it was a very horrible selfish thing to do, they were doing trying to live out their own lives through their kids. That didn't exist before that was something that boomers brought to the world. "Oh I can't be these fun new things I'll make you be it." I think Jonas was a pioneer of throwing his kid at the world. I think Jonas was something of a boy adventurer himself, and made his kid be it. But also put his kid on TV to cash in the residuals. Jackson Publick, DVD Commentary

As stated above Enji gave up on his ambition to be the number one hero and so he decided to create a son with the right quirk to surpass All Might. He then pressured a woman into an arranged marriage, basically purchasing her from her parents and conceived four children until he got his designer baby.

Chapters 301-302 the wrong way to put out a fire, detail the slow descent of the Todoroki Household from Enji entering an arranged marriage with bad intention to create an ideal child to be heir to his legacy, into a full on child abuser. Enji is written like a normal person falling into a cycle of abuse, he never intended to hurt his children at first. Abusers aren't evil monsters, they're just people. Most abusers don't even think of themselves as abusers.

In fact he's shown positively bonding with his first born son who seems eager to learn to use his fire based quirk. He even mentions that he was alright at the time with the idea of Toya being the one to succeed him and letting go of his quirk experiment.

Enji only had kids to carry on his legacy, and only bonded with Toya because Toya was eager to participate in the training and become his heir. However, to give Enji some backstory it's quite clear the death of Enji's own father at a young age left him with no idea on how a father should act.

At a young age Enji witnessed his father attempt to save an innocent girl only to end up a burnt up corpse, and probably at that point conflated strength with being a good father. If his father had been strong enough he would have survived and continued to be a father to young Enji. At that point it's almost understandable that Enji thinks in his mind that earning his keep as the patriarch of the family, and being a powerful hero who will come home alive is the same thing as being a good father.

So Enji conflates masculine ideals of strength and heroism with being a good father, all the while not actually showing up to parent his kids. When Toya seemed like he could live up to Enji's expectations and be strong as a successor everything seemed fine.

However, Toya turned out to be disabled at which point everything in the household began to spiral out of control. After learning Toya could not use his quirk without burning himself, Enji tossed Toya aside and left raising him entirely up to Rei and then pressured her to have more children until one with his ideal quirk would be born.

Toya did not like his father ignoring him and began acting out for his attention. The response of everyone in the household was to politely tell Toya to shut up, because Enji while not being a parent is the money maker and authority in the household no one can stand up to him. When Toya's acting up got too out of hand, Enji would even hit Rei instead of just personally dealing with his son.

At the same time Shoto was finally born and being given his perfect heir after four attempts, Enji eagerly began training him. When Shoto resisted him, Enji stepped up to threats of physical violence and long grueling training sessions to force him to learn. All the while Toya continued to mentally spiral.

One day after his flames turned blue Toya asked his father to meet with him on Sekoto Peak. However that day Enji didn't show up, and Toya lost control of his flames starting a massive forest fire that killed him. Rather than changing anything after his firstborn's death, he doubled down and pushed Shoto even harder.

While being a far worse person, as a parent Rusty is far less malicious. He neglects his kids similarly to Enji at first, but when the safety net is removed and he can't keep cloning them anymore he actually does start taking a personal interest in their lives. Maybe it's too little too late because it's the 14th version of Hank and Dean but he does hear the wake up call and change his ways as a parent.

Enji always doubles down on ignoring his sons in favor of heroics when given the chance to be a father.

Even post redemption arc Enji behaves in the same way. There is no point in the story so far where Enji actively chooses to help or be a parent to one of his sons, when he can choose to be a part of a big important battle instead. Let me break out the list:

In the Pro Hero Arc Shoto sets the challenge for Enji to show what he can be like as a father rather than a hero.

In the internship arc Enji trains Shoto up as a hero but not a father. When he brings the family home to dinner they're attacked by a villain and Enji stands and watches as his son Natsuo gets kidnapped y a villain because he felt like it would be too awkward if he saved Natsuo because then Natsuo might feel inclined to forgive him.

In the War Arc aftewards Toya is revealed to be alive the entire time, and when given the chance to see his dead son come back to life, Enji not only does nothing but he sits and watches as his oldest son tries to kill his youngest without trying to talk to or appeal to Toya.

After the war arc, Enji doesn't bother looking for Toya and goes back to his job as a hero hunting down AFO. He also makes a promise to Shoto that they'll search for Toya together, only to break that promise multiple times.

In the second war arc, when Enji is given a chance to face Toya face to face, he instead sends his other son Shoto to fight him, while Enji fights against the big bad instead as the number one hero.

When Toya is literally dying and about to burn himself alive in front of him, Enji who has chosen to run away from Toya too many times by this point picks the murder suicide option and chooses to try dying with his son in a heroic sacrifice.

Every single chance he is given to act like a father, he acts like a hero instead. Enji Todoroki never steps out of the role of the hero Endeavor. Internally he's changed, yeah. He's remorseful now and realzies what he's done wrong. However, externally he hasn't. He doesn't do anything different. He neglected his family for his job his entire life so his way of making it up to them is... to keep going to his job.

The problem isn't whether or not he deserves to be redeemed, but rather that there's no change in his actions. Endeavor at the beginning of the story would have shown up to fight AFO in the war arc too, because being the hero is what he does. It's the only thing he does. The story never asks him to be anything other than a hero.

Which is I think a fundamental difference in Rusty and Enji in how they're written. Rusty is a flawed parent, but he's still a parent.

He does favor Dean over Hank, but that favoritism takes the form of him giving Hank more chores when Hank acts out, but when it's time for Dean to rebel giving him space and letting him have his own separate room in the attic. It's Rusty letting Dean have access to the family checkbook so he'll have spending money at college, but cutting Hank off from the checkbook because they agreed if Hank didn't want to go to college he needed to find a job to support himself.

Rusty is parenting these children. He's parenting them very badly, but he's still their parent. Enji never wanted to be a parent to begin with, he wanted to be his kid's abusive gymnastics coach. He wanted a prodigy that he could push and push until they won gold at the Olympics.

If you ignore the fantasy elements then you're left with how these men are shown interacting with their kids in their day to day lives.

Rusty has absolutely no idea what he's doing, so even when he has good intentions he screws up. However, he is making an effort to guide these kids.

Enji was an intentional manipulator more in line with Jonas. He controlled everything in the household, and was actively trying to groom Shoto into someone who would obediently carry on his legacy. He made the choice to isolate Shoto from his siblings so he'd have more control over him. Rusty keeps Dean and Hank away from kids their own age and from having a normal life because he never had a normal life. He doesn't even know what a normal life looks like.

Enji for most of his life didn't want kids, he wanted heirs. He even purchased a woman so his heirs would turn out with the right genetics, and tossed aside the ones that were disabled or born with the wrong quirk.

Rusty made the decision to become a parent on his own. In the last twist in the series it's revealed Dean and Hank had no mother. They were conceived in a test tube, raised in an artificial womb by Rusty himself. He is both their father and their mother. Kids were a deliberate decision on his part. He wanted to have a family, probably because his own childhood was so deprived of any familial love.

Dean: Okay, so who is our mom? Rusty: Seriously, Dean haven't we had enough family history for one day? I don't even know who my mom is. All you need to know is that the person who gave birth to you. I promise they do.

Remember as stated above the central thesis statement of Venture Bros is "Elige Tua - Choose your family". Rusty chose to bring those kids into the world because he wanted to be a father, it's an active choice his character makes.

Whereas the central statement of Endeavor's arc is "So, heroics aside. What sort of dad are you going to be? That's what I want to find out?" but we never witness Enji doing anything outside of being a hero.

Even post-redemption the only time he ever spends with Shoto is when they're either doing quirk training or working as heroes together. Toya as a character presents this challenge to him, because he's Enji's son, but he's also a villain who's killed innocent people. If he's acting as a hero he has to put a stop to Toya, but a father is supposed to put the safety and well-being of their children above everything else.

We never see Enji make that choice to be Toya's father over a hero. Which is why in story he comes off as a worse father than someone like Rusty, because he never makes any attempt to emotionally bond with his children.

Rusty will sit Hank and Dean down and tell them stories from his childhood. He'll find common ground with his sons to bond over because they've both been subjected to the boy adventurer lifestyle.

Rusty: Dean what are you doing? Dean: Hyperventilating into my knees. That smell a little like spit up... because I spit up a little. Rusty: Dean, you just baby burped onto a speed suit. Not a super scientist alive that hasn't coughed a little acid onto his speed suit. Dean: Really? Rusty: Why do you think these things are like 95 percent polyester? You can clean off fear-vomit with a wet nap. Dean: I thought you were used to this. Rusty: Dean I remember when the action man would wake me up with a gun pointed at my head. He'd just hold it there and pull the trigger. I'd hear the click really loud because it was right against my forehead. Dean: So it echoed. Rusty: Right, it sounded like he snapped one of my teeth out. Click! Then he'd go, "Not day Rusty. Not Today." Dean: Golly, and you took it because you had to? Rusty: No Dean, I took it because I was Rusty Venture. Boy adventurer. I didn't ask for this life, Dean, but it's mine. Sure, I fall down in the Speed Suit but I get up and Wet-Nap my puke off.

We never get any moments like this with Endeavor and his kids.

He only goes so far as apologizing for his past abuse. Yes, maybe it's cathartic hearing an abuser apologize for what they've done but that's not the question the story was asking. It wasn't asking "Can Endeavor be forgiven?" It was asking "What sort of dad are you going to be?"

The narrative challenged him to learn to act like a father to his family, and he never did. He stayed in the role of hero from beginning to end. It might be cathartic for his victims to hear him say sorry, but it's not good for Endeavor as a character because he hasn't changed and we've learned nothing about him. We already knew he was sorry at the beginning of the arc. Endeavor is sorry and knows he's done something wrong has already been established, but by Endeavor stepping out of the role of hero and acting like a father we could have learned something new about him or his character but no he stays the same from beginning to end.

They're both awful people but at the end of the day Rusty is a father, and Enji is not.

Stories are kind of like essays your English teacher used to force you to read. You need to make a thesis statement in the story itself, and then have evidence to support that thesis statement. The theme of Venture Bros is choose your family, and family is complicated, and in support of that theme we have Rusty choosing to connect with his sons. Jonas is basically nothing more than Rusty's biological father. Rusty's chosen a different way to connect with his sons, and he is their dad, and they can bond about the complicated lifestyle of being a Venture together.

The actions Enji takes in his story don't line up with his thesis statement. The Todoroki Family subplot is supposed to be about how one family was messed up because Enji only chose to have a family to further his career as a hero, and choosing his career again and again made things worse. The thesis statement was that Enji needed to choose to be a dad, but he's never shown doing that in the story.

So Enji as a character seems like he doesn't fit in with his narrative. Which is what I said at the very beginning about Rusty and why he works as a main character. Rusty is the center, because he's had this horrible life inflicted on him by his father, and he's in the process of raising his sons but he still has a chance to choose to be better.

Enji could also work as the center of his story, he has a chance to choose his family over his work as a hero, but he's ultimately not the one who does that, it's Shoto. Which yes Shoto is the main character of the Todoroki plotline, but by the end Enji's gotten as much screen time as his son. If the plot was going to focus on Shoto and his choices to begin with then he should have been the central point. You spent a lot of in story time asking this question with Enji on whether or not he's going to be able to choose to be a father over a hero, and who Enji is outside of being a hero only to not give the audience any answeres.

This again has nothing to do with Enji the person and whether I think he's likable or not, because Enji's a fictional character. He's an idea. If writing is communication, then a writer is trying to communciate some idea with every character in their novel. We're asking what is the author trying to say with Enji, and do they do a good job of getting that message across?

4. What's the Big Idea?

So the above section was mainly about the personal arcs of each characters: How do both of them fail at fatherhood and do they learn to be better fathers over the course of their narratives?

However, these characters are part of a much bigger world. How a character interacts with both the world around them, and the extended cast of characters is another way a story relates it's theme.

Venture Bros and My Hero Academia both exist in comic book worlds. There are people running around in costumes calling themselves heroes and villains and fighting each other on the streets.

In My Hero Academia heroes are basically professional athletes who sell sports drinks and pose for ads and compete for rankings on a big board, and heroics for the most part has been reduced to a day job for people with particularly powerful quirks. Heroism is an entire industry that's for profit, and run by the shadowy hero council who has far more power over their society than they let onto. You could compare Endeavor being the top hero to him is like a combination of being the best pro athlete, and also the best salaryman ever.

Ironically, the worldbuilding of Venture Bros is pretty similar. In Venture Bros. the villains are all unionized. There is a super villain trade union. It's a secret organization known as the guild of calamitous intent, which makes villainy into a bureaucracy.

All villains in the world have to register with the guild. If you're a part of the guild you receive the protection that the guild offers, as long as you follow the guilds rules and regulations. There's lots of small rules, like you can't torture someone who's having a medical issue, and if you're fighting a good guy and they have a doctor's appointment you have to let them go.

They even rank heroes and villains by their threat levels called "EMA LEVELS (equally matched aggression) and then assign you a hero who's about your equal so you won't get killed by someone way stronger than you. The guild basically decides who you're allowed to fight as a villain and picks a hero for you. The act of being someone's arch villain is called "arching" you show up to harass them once a week like a Saturday morning cartoon villain, fight them, then do it again next week. You're not allowed to kill your hero and you're supposed to follow specific rules. The tradeoff is the heroes won't kill you either, because you have guild protection.

The Monarch: I don't know, just keep it cat and mouse not cat and missile. JJ:: So it's a game? We fake fight? That's ridiculous. The Monarch: No, it's like fencing, it's about the art of the fight. JJ: Well, I'm about to deliver my killing stroke. Then what? Dr. Girlfriend: Then the guild steps up their game. You throw a rock, they throw a knife. You throw a knife, they come to your house when you're sleeping and murder your family. The Monarch: Look Dr. Venture you call the guild and you get the damn rulebook, I'll be waiting.

The justification for why the guild exists is that in world if you didn't give the villains a system with a bunch of rules, then you'd have a bunch of crazy people in costumes running around causing havoc.

Brock: You wanna what? Shoot him? And all his men and his wife? You could steal his cattle, too. Maybe burn his village down? JJ: It's an antiquated system. I mean my father did this fake arch enemy nonsense in the sxities. Maybe my brother is good with this namby pamby guy in a costume chases you around nonsense, but I'm not. Brock: Hey no disrespect Jonas, but it isn't so easy. These guys like their system. It's what they do. You take that away and you're looking at a bunch of pissed off nut bags with ray guns, and giant -- i don't know, a giant octopus / tank with laser eyes.

The villains and the OSI (who are like the GI JOE) of this world have signed a very long and detailed treaty that keeps both sides in a cold world stalemate and lets them fight every week like how the good guys and bad guys fight constantly while maintaining a status quo where neither side wins.

In MHA heroics is a commodity. It's commercialized and sold to the public. Heroes are like professional athletes selling you sports drinks, it's a spectacle to the public, and it's even intentionally made to be that way by the Hero Commission who use heroes as a bright shining light to distract the public while they do shady things like assassinate antigovernmental protestors from behind the scenes. The entire of hero society in MHA is built on the spectacle of heroes.

In Venture Bros heroes and villains are a spectacle too. It's just a job to them. Heroes and villains both show up to work, get in their costumes, fight each other and then go home. In Season 6 of Venture Bros, a parody of the Avengers is actively charging people to provide their services as heroes in the city of New York and you have to sign up for a protection plan if you want to get saved. Then the local mob boss takes a cut of the protection money they're charging.

In both settings the ideas of heroes exist, comic books exist, but the heroes themselves are incredibly mundane, they're just people showing up to jobs and making money for the most part. The only difference really is that in MHA the villains are societal rejects and trauma victims, whereas in Venture Bros they've unionized. In Venture Bros the villains and heroes basically fake fight under strict rules. Even in MHA though the villains need to exist in order to give the heroes someone to fight in front of the public. "Villain" is an actual legal term for a certain kind of quirk criminals with more than three strikes who gets sent to a super max prison if they're caught.

Both of these works are making comic book heroes and villains seem a lot more mundane by deconstructing them with this layer of realism. By making the roles of "hero" and "villain" seem much more mundane, and therefore more human, it also asks us to look at the characters who call themselves heroes and villains as human beings.

The Venture Bros like many richer takes on superhero stories really likes to play with the concept of identity. It's the idea that Good and Evil, Heroes and Villains, are just roles we play. They're not something fundamental or innate they're constructed by the world around us. In the show the main villainous organization the GCI is really just a bureaucracy of larpers sustaining their violent rolelplaying through organized crime. Rich and powerful lunatics who built the world around a game they wanted to play. There's really nothing of substance keeping Rusty on the "Good Guy" side. The good guys are also a mix and match. Shield, GI JOE, FBI. Another exmaple of people who never grew up. Only these people are running things, playing out their childhood power fantasies. They're barely less insane and blood thirsty than the bad guys. So what's even the point of being a good guy in the first place? That's the world Rusty is caught between...[x]

MHA and Venture Bros are both works that feature societies that divide people into two distinct categories "hero" and "villain" and then go on to show that these two categories are not as black and white as they would like us to believe.

Venture Bros features Brock Samson, a character who is ostensibly on the side of the good guys who also highest body count of nameless henchman who we see him gleefully kill onscreen over and over again. There are members of the OSI who are just as trigger happy as the guild so what's the difference between them besides what they've decided to personally identify as? On one side you have the Larpers who are roleplaying villainy, and on the other you have the military soliders who think they're real life GI JOES.

In My Hero Academia you have heroes who are essentially state sponsored peace keepers who suppress anyone who disrupts the status quo with violence, and villains who are rejected from that status quo who eventually turn into violent terrorists. While yes heroes have the responsibility of protecting innocent civilians, most of what heroes do is fight villains, in fact heroes with quirks suited to rescuing people aren't nearly as famous as ones with flashy violent quirks like Endeavor.

You have two sides and one calls themselves villains and the others heroes, but they both use extreme violence as a way to accomplish their goals.

Rusty and Enji are two characters who are caught between these two categories which aren't as distinct and separate as we'd like to believe they are.

Enji is basically the first deconstruction of heroes in MHA. He's a hero who's not interested in saving people, but instead wants to be the strongest and does everything in pursuit of selfish glory.

He's simultaneously the hero with the single most resolved cases in history, but at the same time he's always number two to All Might because he's not "super" enough of a super hero. In a manga where Deku's natural desire to save others make him a candidate to b ahero even without a quirk, we have a character who's a hero for purely selfish reasons. One that only cares about having the strongest quirk because being the best is all that matters to Enji.

In many ways the way Enji treats his family is more like a villain than a hero. Main villain AFO himself comments at one point he wasn't able to manipulate Toya, because his father did too good of a job manipulating him already. In fact you can draw a parallel between his actions of manipulating and grooming Shoto to be his heir, to how AFO raised orphaned child Shigaraki Tomura as his successor.

This is a good use of Enji's character, because making it hard to label him as hero and villain makes us think about who he is as a person instead.

There's an entire episode of Venture Bros dedicated to a villain Mentor named Dr. Henry Killinger, showing up and basically mentoring Rusty Venture when he's at a low point. He gives Rusty money, workers, gets his business up and running again and at the very end reveals that he's setting Rusty up to be a villain to arch his brother as a hero. Rusty is tempted with the idea that he'd make a much more successful villain than he ever would be a hero (because as a hero he's kind of just a loser) but he still chooses to be a hero at the end of the story because he doesn't want to fight his brother.

At which point his mentor, all his hired men, all just walk off and he loses all the money he would have gained and he goes back to being a mediocre super-scientist.

"Doc has the whole thing laid out for him clear as day. This role is here for you. Waiting for you to claim it. You have your nemesis. You have your means. You have the ability and the pain. You can do this and you'd be good at it. And Rusty can look at all of that, everything he's been through and say, "Yeah... but I don't wanna be evil." [x]

Rusty walks away from the chance to be a villain, but he's not exactly a hero either. He runs illegal cloning farms, he does lots of unethical scientific stuff and he's not even remotely the hero his father was considered to be.

Because he doesn't fit well into the category of hero or villain, the show instead asks you to evaluate who Rusty is as a person. He's one of the few characters in the show that's capable of stepping out of those categories.

"That's the great thing about him. Sometimes being disillusioned just means you can see through the whole thing. Sure the whole super science villain game feels stupid. It's not going anywhere. No one's accomplishing anything. It's all violence and roleplay. But at the end of the day it's still real. And it still means something to us. Choosing to be a villain means choosing to be a bad guy. It means relinquishing the premise that you could ever do better, ever actually help anyone. And that's not who Rusty is. He's a scum-bag, but he's a grown up. Even in a show with brilliant characters, old pros, and actual supermen, Rusty is the adult. And adults don't put on rubber masks and terrorize people for fun because that would be fucking silly." - [x]

Rusty spent his entire childhood being terrorized by guys in costumes, so he's now the cynical straight man pointing out how ridiculous this all is. He's the one normal person among the crazies.

Rusty is just too incompetent to ever be like his father. Jonas Venture is scum bag, but he's also a well-respected scientist and a world wide hero. Everyone in the scientific community thinks that Rusty is a joke, and his friends just barely put up with him

Jonas gets away with it because he perfectly fit what society's idea of a hyper masculine strong hero was, and no one questioned it or how he treated his son, whereas because balding, impotent, pathetic Rusty falls so short of toxic masculinity's standards he doesn't get the same respect or leeway that Jonas did. Jonas Venture continually got away with murder, and Rusty can't get away with anything.

He's a pill-popping, middle aged man who ran his father's business empire into the ground who continually gets laughed out of any scientific conference he tries to attend.

He can't be a hero. He can't be his father. He fall short of toxic masculinity's standards. He falls short of everyone's standards. The only way in which he's better than Jonas is that he's a much better father to both of his sons. His greatest triumphs as a character come from bonding with Hank and Dean. Jonas for all his accomplishments wasn't capable of bonding with Rusty because he didn't really care about anyone but himself. Jonas Venture is someone who perfectly fit society's standards of toxic masculinity, but he wasn't a person outside of that.

"Jonas Sr realized this too, but to him, it was a joke. To him it meant being above everyone. Rusty can't be above everyone so he has to meet them at eye level. Part of the bitterness of growing up is realizing that we're all just chidlren who got old. No one knows what they're doing and when you come to terms with that you can look down on people or give them the respect everyone deserves. How you treat children says a lot about how you treat people which in turn says a lot about you." [x]

Now returning to Endeavor we run into the same problem that we did earlier. This whole post is comparing Rusty and Endeavor because they are the protagonists, but Endeavor is far more like Jonas. He's someone who sees through the hero system and only cares about climbing to the top out of his own self interest. He knows it's a game, but he wants to win at the game.

Enji even sort of looks like Jonas.

They're both extremely bulky men at peak levels of physical fitness. Meanwhile Rusty is a balding, short and out of shape middle aged man.

In story Jonas is still widley beloved by the public and is constantly praised, while no one but Rusty is aware of his faults, but there's a reason for that. Jonas is someone who is basically allowed to do anything he wants, because the patriarchy means all of society is built around letting men like Jonas succeed.

Jonas is also someone who literally uses his position as a hero to manipulate people into getting what he wants and glorify himself.

Jonas can casually destroy people's lives, all while still believing he's the good guy because in his world being good guy is just a role to play and he plays it well. One of the best three episodes of the series is the Morphic Trilogy, the opening to season 7 where some of Jonas's past crimes are revealed.

In the past he tricked a married man into making a sex tape with him, and then when that man Don Carraldo aka the Blue Morpho turned out to regret that, he used the tape to constantly blackmail him into doing his dirty work. Killing people in secret while Jonas Venture remained Squeaky clean. After years of being forced to act as a mercenary for Jonas, the Blue Morpho died in a plane crash. Jonas then revived his best friend as a cyborg. He got bored of his new cyborg within a few months and reassigned him to babysit his son Rusty. The cyborg glitched and started to strangle Rusty and then he snaps his friends neck, and throws the cyborg away in the garbage.

Jonas can just completely destroy a man's life because he can. Because everyone around him enables him and no one is going to stop him. Because this is how people in power act when they're given too much power. Because might does not make right.

He's the gold standard. He's the ideal. Who would question him?

Enji occupies a similar position in the story, where he fits the role of a hero so well that even when his family abuse is revealed to the public basically every character and their mom is tripping over themselves to defend him.

Jonas is constantly praised in story years after his death and every bad thing he's done is swept under the rug, but that's because number one Jonas was a manipulative monster, and number two it shows toxic masculinity is a false ideal. This is how Jonas who everyone thinks is the ideal man's man, really acts. This is what he gets away with it, because the thing society glorifies are toxic and bad.

When people bend over backwards to defend Endeavor what does it say exactly? Because we're supposed to believe that Enji's willing to work for redemption even if people don't forgive him. We're not supposed to think Enji is a manipulative monster intentionally twisting people around his finger like Jonas was.

There are some ways Enji is like Jonas, especially in his backstory. He did use his money and influence to buy a woman. Rei was definitely not going to get the option of divorcing him if she actually wanted to leave.

However, in the present time we don't see Enji doing the kind of manipulation that Jonas does, because really he doesn't have to. Hawks does it for him. There is a character in the narrative named Takami Keigo / Hawks who is a little boy that Enji indirectly saved as a child by putting his father in prison. Because of this he is obsessed with making Endeavor live up to the hero he imagined him to be when he was young, and does everything he can to prop Enji up behind the scenes and make him look like that hero to the public.

Hawks is a whole other can of worms, but in effect what this means is there is someone manipulating public opinion in favor of Endeavor so he'll be able to shine in spite of the numerous skeletons in his closet, it's just not Endeavor himself. Hawks also takes away a lot of the active decisions on Endeavor's part. When Endeavor chooses to ignore Toya in the latter part of the story, it's not Endeavor's choice, he's just following Hawks plan to fight AFO. When Endeavor makes a public apology, Hawks is the one who wrote it for him.

The result is that Endeavor comes off as less of a Jonas, after all Hawks is the one manipulating his public image. On the other hand, he's also less good of a character because he's not making choices anymore. It'd be better If Enji was trying to manipulate the public into forgiving him in the wake of his scandal, because that'd be an active choice on his part. When a character makes a choice it tells us something about who that character is.

Horikoshi doesn't want us to think that Enji is the kind of selfish monster that Jonas is, but then who is he supposed to be?

The entire point of this post is to compare Enji to Rusty, but Enji's far too successful to be Rusty. Rusty is a failure in basically everything he set out to do in life. He's the butt of the series jokes. He's the victim in as many ways as he's the perpetrator. He had a lot of money and then wasted it all. None of his inventions are succesful. The scientific community thinks he's a joke, or they don't even know who he is. Women won't even go near him. No one ever defends him. At no point in the story does someone stop and say "Hey, Hank I know your dad's an asshole but he's really good at science so that makes it okay."

Rusty's such a failure at being a hero that he's forced to be a person. He's as equally narcissticic and toxic as his father, he treats women like objects for sex and comfort like his father does, he just doesn't get away with it. You can't point to some heroic feat of his that justifies his toxic behavior because he doesn't have any.

The story however can't stop singing Enji's praises for what a good hero he is. He's never forced to step out of the role of hero and be a person like Rusty is, and because of that the message of his character becomes confused.

Are we supposed to think he's a manipulative narcissist like Jonas is? Are we supposed to think he's an incredibly flawed individual trying to figure out how to be a father late into his kid's lives like Rusty?

Rusty has a clear role in his story, and what the author wants to say with Enji is unclear.

Everyone praises Jonas to death and no one can see him for the terrible purpose he is, because that's the point. Venture Bros is about failure. It's about the death of the space ag optimisme. It's about how much the boomer generation sucked.

From the Radiant is the Baboon Heart Commentary. Question: Did Jonas only keep Rusty around for the press and his cloning tech or did he actually care about him? Answer: . The show has a villain called the monarch, but if you watch all the show the villain is Jonas Venture Sr. He is a bad dad. What you need to realize is that in this kind of baby boomers gen x millenials kind of thing we are of the generation that had bad parents. For the good and the bad of it. The good was we were all left alone by our parents, and we had a freedom in our thought that I don't think the millennials have. Because we made the millennials, and we were like You know what Our parents suck and we're gonna be great parents." And they helicoptered them and they gave playdates. [...] I did hate the boomers, they were awful fathers they were terrible people they did horrible things to our world, and at the time they were celebrated as good people. They were a bunch of hippies and they failed and they did everything wrong that they wanted to fix [...]. You and I are lost people we observed our generation. We are fully aware of it. We observed our parents generation. My actual father was a classic distant father, very bright had a lot of work to do, but I observed that generation and the way that toxic masculinity was set in stone. Just branded onto their tombstone. Toxic masculinity. Our generation grew up wanting to be adults, childhood was something that was not examined. When people were growing up we wanted to be grown ups, we wanted to wear suits, it was something you guys don't have. It was a very different way to grow up. So we wanted to be like this generation that immediately we looked at and went oh my god they're monsters. So Jonas Venture Sr. is a monster.

Jonas is a commentary on how much the boomer generation is glorified, and how much they suck if you look at them critically at all. It's written by authors who were observing basically three different generations of parenting, the way boomers parented, the ways Gen-Xers did in response to that and now the way millennials act as they reach adulthood. Rusty can't escape Jonas' shadow because Toxic Masculinity is set in stone.

The role of Jonas in the story is to serve as an antagonist to Rusty and be the cause of Rusty's struggles, and also his impetus to change because Rusty doesn't want to be like his father. Rusty and Jonas both exist as characters to show the author's observations on parenting through the generations, and yeah it's a very american idea of parenting and family but it's you know... a cartoon made in america.

What is Endeavor's role of the story? If he's a criticism of toxic masculinity he's not criticized enough, because the story spends just as much time glorifying him his obsession with strength and power as it does criticizing him. There's no scenes like this for Rusty to show off how cool he is, or how determined. The story wants you to believe that there's something redeeming in the fact that Enji is always struggling to be the greatest, even though his obsession with being number one is what caused him to abuse his family in the first place

It's criticizing and praising Enji's obsession with power in the same breath, because My Hero Academia can't fully deconstruct toxic masculinity the way that Venture Bros can. It keeps trying to find something redeemable in Endeavor's toxic pursuit of power, but that's the whole point. Toxic masculinity isn't redeemable, because toxic masculinity is toxic. There's nothing wrong with masculinity itself, or the values people traditionally consider masculine but the kind of hyper-aggressive pursuit of physical strength Endeavor chases after is toxic masculinity. In Endeavor's mind men are warriors, protectors and providers and nothing else, and he never learns to be anything else either.

MHA would never treat Endeavor the way Vbros treats Rusty, constantly humiliating him or making him the butt of jokes. It would never make Enji out to be weak or pathetic the way Rusty is.

The central concept of Endeavor is struggle. His chosen hero nae "Endeavor" means to try hard to achieve something. His entire character is based around the concept of struggle. His central struggle is that he's a normal guy trying to compete with a superhero like all might, and everything he does he struggles with even if that struggle is pointless.

However, in the actual narrative itself he doesn't struggle. He definitely doesn't struggle the way Rusty does. Rusty's a lazy, incompetent, and entitled man sitting on a pile of money he didn't earn who thinks he's entitled to more who fails at all he sets out to achieve. Rusty never gets what he wants, and even when he does get what he wants like when his brother leaves him a billion dollar corporation in his will, he bankrupts that company in two seasons. Struggle means that the world isn't going to give you what you want and you keep trying anyway.

Endeavor's never subjected to nearly the same amount of narrative punishment that Rusty is. He's still well-respected. People defend him. He fights in all the major battles of the series and gets victories. No one's disgusted when they hear that he's a wife beater. We are told that he struggles, that the central concept of his character is struggle, but the narrative keeps handing him wins and cool moments.

As I've said above several times, Enji's never really forced to step out of the role as hero because he's not a failure the way Rusty is.

My Hero Academia hits some of the same notes as Venture Bros. It's criticizing apanese hegemonic masculinity, specifically that of salaryman masculinity and the way men in japan completely put their careers over their families. Read about it here in this convenient power point presentation. Enji is essentially an incredibly successful salaryman who has completely disappeared from his kid's lives in order to earn money and success and believes that he's still entitled to be a father because he's performed adequately in his role as earner of the household.

The story does show how giving too much power to the patriarch of a household can cause a house to fall apart. It shows that traditional family roles aren't all they're cracked up to be. Enji is assigned the role of father but he doesn't live up to it. The very rigid and traditional Todoroki Household crumbles because basically everyone fails to live up to their roles. The father isn't present. The mother isn't a good caretaker. The first born is defective. The youngest is given all the responsibility of the first born. No one is able to live up to those roles because maybe those rigid set in stone roles shouldn't exist in the first place.

Once again though, that's all in the backstory. Enji never changes from the Pro Hero Arc to his last showdown with Toya. The story never tells us anything about who Enji is as a person. Therefore, it also never comments on Enji's role as the patriarch. What is Horikoshi using Enji to say about patriarchy besides... it exists?

The story shows you how destructive the idea of patriarchy that Enji represents can be in the backstory, but because Enji doesn't do much for 90 percent of the story it never says anything about how Enji can learn to be a father or if it's even possible for him to be a father this late in the game. Because Enji's story isn't about fatherhood ultimately, it's about him becoming a less selfish hero.

Which might just be a problem with the whole of MHA. Venture Bros is about who the characters are outside of their identity as heroes and villains, but MHA is ultimately more about the optimism of heroes and what it means to be a hero than these characters personal lives.

Rusty is never going to be as sucessful as his father. He's always going to be mediocre, ad even if he's sympathetic he's still a scum bag. However, Rusty has one thing his father doesn't have which are his two sons who he made a deliberate decision to get closer to. Unlike a serial user of people Jonas, Rusty has the ability to actually love and care for people and he chooses to make those connections.

Endeavor never chooses to be a father. He didn't choose to go to Toya's side. He was too busy being a hero and fighting the big bad. As a result of that we never learn anything about Enji as a character outside of being a hero because he never chose to be anything other than a hero.

He also never failed. As I said the narrative kept handing him wins. You'd think never choosing to see Toya would mean he can't save Toya in the end, but in the end of the story Toya's just fine. There are no consequences to his choices. He's revealed to be an abuser to the public but he gets to keep being a hero. Enji never really fails in some big way that forces him to rfelect and change on his actions, so he just keeps doing the same thing from beginning to end.

Which is why Enji doesn't work as a character compared to Rusty. He doesn't fail. He's supposed to be a flawed protagonist struggling against himself, but he never really loses. He's too much like Jonas and not enough like Rusty.

"I think Jonas was something of a boy adventurer himself, and made his kid be it. But also put his kid on TV to cash in the residuals. He was just a shitty parent. When he went to bed he was just, he was moral, and he was fighting the good fight. When he woke up he ignored his son and made his son do terrible things. He voted for nixon like a good american. He was a winner and our show is not about winners. Our show is about losers and people we love." Jackson Publick. n

[jacks347]

So I was relistening to Sam for the billionth time and once again came across David lecturing Darlin for being dumb.

Now, this episode gives me...mixed feelings. It always has. And the point I'm about to make was actually one of the first I ever made on the Discord but y'all know me, never missing a chance to restate and overexplain.

I'm most definitely not the first person to point this out but Darlin's first interactions with Sam that get them chewed out are extremely similar to Milo's first interactions with Sweetheart. They both meet somewhere where the listener shouldn't be, they come to a tentative agreement, then fight something that gets them fucked up and was kind of stupid. The difference is, as far as we know, David never finds out about Milo's stupid mistake. And, if you ask me, a shade is far more dangerous than a couple of vampires.

Can you imagine that pack meeting? Darlin getting read the riot act, Milo sitting there knowing he did something just the same but got away with it. Do you think he called them out? Or do you think he stayed quiet, knowing he had no room to talk?

And more so, how do you think Darlin reacted when they found out the story of how Milo and Sweetheart first met? The indignant rage of knowing what he did and got away with, the memory of the burning shame they had to sit there and endure, the humiliation they felt getting lectured like a child. He did the same thing and got none of that. I always imagined that when Sweetheart told them that they had to go take a walk for a few minutes in order to keep a cool head and not explode and then refused to talk to Milo for three weeks so that the rage would calm down and they wouldn't have to suppress the urge to break his jaw whenever they spoke to him.

The point I first made was "Do you think Darlin holds a grudge against Milo for not getting the same lecturing that they did?" Maybe it's not a strong one, but it's there.

It's interesting how the same event characterizes people differently. In Darlin's case, we see them as reckless and stubborn, someone acting out without a plan. In Milo's case, we see him as strong and protective, wanting to help keep someone safe. How can the same even paint one character as a hero and one as a villain when they did the same thing?

Because of connotation, my friends.

Milo has been painted as the smart-mouthed but fiercely loyal and protective friend, so we (including the rest of the pack) want to see his actions in the same light. Darlin has been painted as a brooding, emotional outcast, someone who acts rashly but with good intentions, so we see their actions similarly. But that's not fair. It's not fair to Darlin, who just wanted to protect their friends, and it’s not fair to Milo, who needs to be reminded that him throwing himself in the problem headfirst in life or death situations isn't the solution.

In conclusion, Milo deserves to have his little excursion with Sweetheart revealed and be reprimanded out of respect for Darlin cause that shit ain't right and it bothers me.

(Also, one more thing. In Sam's first healing audio after the double vampire fight he asks why Darlin wouldn't just tell a healer to shut up and heal them when they started asking questions. But in reality, the healer that Darlin would've gone to while running on instincts probably would've been Marie and yeahhhh I'd like to see anyone tell that woman to shut up and do something. Don't fuck with Mama Greer.)

[infizero]

Why Ambrosius and Ballister’s Relationship Feels So Different in the Movie (Nimona)

As someone who read Nimona countless times growing up, I am very familiar with the story and these characters. Which is why when I watched the movie, I was struck by how different Ambrosius and Ballister felt. They seemed like totally different and unfamiliar characters to me, and it didn’t have anything to do with their designs.

After rereading the original Nimona graphic novel recently, I’ve come to the conclusion that the main reason they feel like completely different characters in the movie comes down to one thing: the removal of the joust.

When I watched the movie, I was surprised by the fact that they changed the circumstances that drove these two apart. But it didn’t hit me just how much this one event shapes both of their characters and their relationship to each other until I reread the book. 

The joust is CRUCIAL to their dynamic. It pervades every interaction they have with each other, they bring it up constantly, it is literally the crux of their collective storyline. We learn about it on PAGE 5 of the whole book, and their big heart-to-heart when Ballister is captured near the climax of the story is based around Ambrosius finally admitting the truth about what happened. Honestly I’d say that him finally coming to terms with what he did and apologizing for it is probably what allowed these two to finally find peace together by the end of the book.

We get something similar to it in the movie. Ambrosius still is responsible for Ballister losing his arm, but it is under WILDLY different circumstances. So I want to talk about how the joust affects them in the book, and then explain why the movie’s version of events, while similar on the surface, has a completely different effect on everything. So let’s get into it!

(All images of the book are via pictures of my own physical copy btw, so apologies if they’re not the best quality.)

(Also I want to make it clear that I don’t hate the movie nor its adaptation of these two. I do personally greatly prefer the book, but this post is not here to tear down the movie and exclaim that the book was way better. I just find it interesting how changing one event can have huge ripple effects!)

Part 1: The Graphic Novel (AKA: “My Boyfriend Shot Off My Arm Because of His Wild Ambition!”)

Like I said before, we learn about the joust very early on; Chapter 2, page 5. It is told to us first via Ballister’s perspective. Nimona asks if she can kill Ambrosius while they’re making evil plans, and Ballister says no -- if anyone is going to kill Ambrosius, it’s going to be him. We then get a flashback to the joust itself.

Ballister explains how they were friends and how the joust was the first time they had been pitted against each other. Ballister won fair and square, but in his words:

BALLISTER: “but Ambrosius hates to lose.”

BALLISTER: “He always claimed it was an accident. No one could prove otherwise.”

BALLISTER: “Turns out the Institution had no use for a one-armed hero. I took the only other viable option.”

Ambrosius used a weaponized lance and blasted Ballister’s arm off. After the incident, Ballister was rejected by the Institution, and became a villain instead of the hero he had originally set out to be.

In Chapter 3 we see Ambrosius appear for the first time, and he and Ballister have a very relaxed sort of cartoon hero-villain dynamic going on. There’s definitely real animosity between them, but they don’t hesitate to simply talk casually to each other or help each other when things go south. It’s all pretty lighthearted and lowkey. 

They fight briefly, but after Nimona triggers the building they’re in to self-destruct, Ambrosius doesn’t hesitate to help Ballister escape and Ballister doesn’t hesitate to accept his help. Ambrosius even tries to reassure him that Nimona will be fine. After they make it out, with Nimona presumed dead, Ambrosius puts a hand on his shoulder and tells him to go before more guards show up. They may be “arch-nemesises”, but they certainly don’t act like it.

AMBROSIUS: “Haven’t you missed our fights? We haven’t done this since you tried to clone the king’s daughter!”

BALLISTER: “Ambrosius, I really don’t have time for this.”

AMBROSIUS: “Are you trying to make me jealous?”

BALLISTER: “You’re an idiot.”

By the way, I’m not going to be doing a full breakdown of every single scene with them, don’t worry. I just think that their first interaction shows off their dynamic very well. This is presumably how they’ve been with each other since the incident, as it’s made clear both here and throughout the book that they’ve both been doing this for a while at this point. They have a very established dynamic, which is important as that is one of the big differences between the book and the movie. (I’ll get into that more later.)

Whenever these two interact throughout the book, it’s clear that they have very different opinions on the incident that drove them apart and how their relationship functions now.

Ambrosius tries to act like it was simply an accident and that it doesn’t matter. Ballister became a villain of his own volition, and now they are arch-nemesises who have to fight because that’s their job -- though he doesn’t exactly act like he hates Ballister. 

Meanwhile Ballister saw it as a deep betrayal, and while he definitely still cares deeply about Ambrosius, he cannot get over the incident as easily as Ambrosius can.

Their respective feelings about what happened are shown perfectly in the scene in Chapter 7 where Ambrosius invites Ballister to meet with him in secret. Ambrosius tells him that the Institution has ordered him to kill Nimona and begs him to send her away, both so he doesn’t have to kill her and so things can go back to “normal.” Ballister then says that Ambrosius gave up normal at the joust.

AMBROSIUS: “I can’t believe you’re still hung up about that. It was a long time ago, you know.”

AMBROSIUS: “Besides, it was an ACCIDENT.”

BALLISTER: “I bet you’ve said that so many times you’ve started to actually believe it.”

Ambrosius insists it was an accident, and Ballister claims that he blasted off his arm because he couldn’t stand that Ballister was better than him. This sets Ambrosius off and they begin to argue.

AMBROSIUS: “You can’t blame me for how your life turned out! You made the choice to turn evil!”

BALLISTER: “Choice? I never had a choice! The Institution needed a villain. That lot fell to me. I never chose it.”

BALLISTER “And it could just as easily have been you, had that “accident” happened differently!”

AMBROSIUS: “Oh please! Do you really believe that?”

AMBROSIUS: “You never had it in you to be a hero! Everyone always knew that you were going to be the one to go bad!”

Ambrosius has convinced himself that Ballister chose to become evil, and that he isn’t responsible for what happened because it was an accident. We later learn that it wasn’t an accident though, which means that this really is him just making excuses so he doesn’t have to accept responsibility.

Ballister brings up the idea of Ambrosius becoming like him again after they fight, in one of if not my favorite scene between them in the whole book:

AMBROSIUS: ��uugghh”

BALLISTER: “What if I cut off your arm right now?”

BALLISTER: “Then you’d see how fast the Institution would cast you aside. Just like they did me.”

AMBROSIUS: “You wouldn’t.”

BALLISTER: “No, I wouldn’t.”

BALLISTER: “And I’m the villain.”

BALLISTER: “What do you suppose that says about you?”

Ballister and Ambrosius are both very complicated individuals, and I think they lose a lot of their moral grayness in the movie. (Which I will get to later.) 

Ambrosius is the “hero”, but it was his ambition that drove him to blast Ballister’s arm off, and he’s never accepted responsibility for it, instead trying to convince himself that Ballister turned out this way because of his own actions. But he doesn’t disagree here that the Institution would throw him out if he were to lose his own arm, which I think is very telling. He knows deep down that he is not a good person, and he is not working for good people. But he doesn’t want to admit it.

Ballister is the “villain”, but in many ways he is better than Ambrosius. He abides by his own rules of never killing unless it’s necessary, and goes out of his way throughout the book to make sure that as few people are harmed as possible. He knows that the Institution is corrupt, because he was one of the people it failed. And he works to try and bring it down. 

Ambrosius cannot accept what happened, and because of that they aren’t able to get anywhere. They both know it wasn’t an accident. But because Ambrosius cannot admit it, they are stuck like this.

It’s a fascinating part of Ambrosius’ character that though he is adamant about Ballister being the one to destroy himself, he still cares about him. Much more openly than Ballister does in return, in fact. Ambrosius consistently does whatever he can to avoid having to kill him and always seems to have his wellbeing in mind. While he initially refused to kill Nimona, revolted at the idea that he should be ordered to kill “a little girl”, he eventually agrees to do so, but only under the condition that Ballister would be spared.

THE DIRECTOR: “Your motivations are quite transparent. I KNOW what the nature of your relationship was. I made it clear at the time that I disapproved. If your fixation on him has impeded your ability to do your job, then he truly has outlived his usefulness.”

THE DIRECTOR: “We’ll find you a new nemesis. Perhaps you will be more competent without Blackheart as a distraction.”

AMBROSIUS: “I won’t kill him. If you demand I kill the girl, I’ll do it - but I won’t kill him.”

Despite him and Ballister’s separation being his fault, he is the one who wishes most for things to go back to the way they were.  And this is likely why he refuses to accept responsibility about the joust. If it were truly an accident, then there shouldn’t be anything preventing them from continuing to be together. By painting it as an accident, Ballister becomes the villain for refusing to move on and let things go back to the way they were, not Ambrosius.

But finally, after Nimona disappears and Ballister lets himself be captured, we get probably the most important scene between these two. Ambrosius has been demoted due to his failure to kill Nimona, and is now forced to guard Ballister’s cell. Ambrosius is at his lowest that he’s been throughout the story, disgraced and discarded by the Institution who he had always been so loyal to.

It’s notable that Ambrosius says here that they both know Ballister is not evil, since he has been paddling that idea this whole time that Ballister made the choice to turn evil. By admitting that he is not, it shows that he is both starting to turn against the Institution, and starting to be more honest about what really happened.

Naturally, after Ambrosius wonders how things ended up like this and reminisces on when they were together, Ballister once again brings up the joust. And finally...

AMBROSIUS: “I- I never wanted to hurt you. I- I didn’t- It was-”

BALLISTER: “Don’t you dare try to tell me again that it was an accident.”

AMBROSIUS: “It wasn’t.”

...he admits the truth.

Ambrosius shares his side of the story, letting both us and Ballister in on what really happened that day. It wasn’t fully his fault -- the Director had called him into her office the night before the joust and told him that he had promise, that he was her choice out of the two, but that he had to prove himself against Ballister or that opportunity would go away.

On the day of the joust, Ambrosius received a weaponized lance instead of his regular one, which he instantly noticed. He asked what the Director expected him to do with it, and was told that she expected him to win.

To Ambrosius’ credit, he had no intention of using it, as he was confident that he would win. But the weight from the weaponized lance threw his balance off, and he ending up losing. And so...

AMBROSIUS: “I wanted it, more than anything. You never wanted it as much as me. You were just BETTER, without hardly even seeming to try.”

AMBROSIUS: “I don’t even remember- but I must have-”

[...]

AMBROSIUS: “I’m sorry, Ballister. I’m so sorry.”

To be fair, Ambrosius is not entirely to blame here. I doubt he would’ve come up with this idea on his own; he only acted on it because the Director had already given him the weaponized lance, and stressed the night before that the opportunities she dangled in front of him would not be given to him if he did not win. He was manipulated.

But he still made the decision to do it. He could’ve simply not used the lance. But he chose to. It is his fault.

It’s fascinating that the version of events Ambrosius had been swearing by this entire time is the exact opposite of what really happened. He claimed that it was an accident, he didn’t choose to do it, he had no choice, and that it was Ballister’s choice to become evil that caused all of this. But in reality, Ambrosius was the only one who got a choice here. And that choice is why their relationship was destroyed.

Ballister then brings attention to something even more damning:

BALLISTER: “You’ve never said it before.”

AMBROSIUS: “What?”

BALLISTER: “You never said you were sorry.”

AMBROSIUS: “I- didn’t?”

AMBROSIUS: “Oh god.”

I feel like you could interpret this in a lot of different ways, but the way I see it, they probably didn’t see each other much right after the incident. Ambrosius was catapulted into stardom as the kingdom’s beloved knight, and Ballister became a villain. I don’t think they really interacted much until their hero-villain antics started up, so I don’t think Ambrosius really had a chance to apologize. And if he did, he didn’t think to. Regardless of why, I do think it is messed up that he never apologized, and it goes to show just how much this event destroyed the bond they used to have.

From here, there’s not too much, as Plot Stuff starts getting serious around this point. Ambrosius ends up betraying the Institution after they continuously attack Ballister to provoke Nimona, attacking the guards who are holding him. This is when Ambrosius finally chooses Ballister over the Institution, which is great for his character, but there’s not really much more than that to say about it.

He and Ballister plan together to try and save the kingdom, with Ambrosius being adamant that they have to kill Nimona while Ballister refuses to. It’s during this conversation that Ambrosius mentions that he “never did anything good [his] whole life”, which is really sad but also kind of accurate, and it goes to show how he’s finally accepted responsibility for everything he’s done and had a part in up to this point.

Eventually Ballister is able to find a way to nerf her and they split up, with Ambrosius wanting to tell him something in case they don’t see each other again, but Ballister shuts him down.

BALLISTER: “We can’t do this now. Just... just promise me you won’t get yourself killed.”

It’s easy to assume this was something romantic and it likely was, but I imagine Ambrosius could’ve also wanted to say sorry again for everything. Perhaps it would’ve been a mix of both.

Regardless, they split up and climax stuff happens: Ambrosius attempts to kill Nimona but gets seriously injured, Ballister tries to reason with Nimona, etc. etc. Eventually at the very end, we see that these two have made peace and are together again, living on after everything. And that’s these two in the book!

Whew. I know that was a lot, but don’t worry. I won’t be going into as much detail about the movie’s version of events, as Ambrosius and Ballister have a much more cut-and-dry dynamic there than in the book. Their relationship in the original is very complex, so I wanted to make sure I covered all of those little nuances.

The joust is what defines their relationship and a lot of their respective characters; it is unimaginably important. Ballister became a villain because he lost his arm and was cast aside by the Institution. Ambrosius became the kingdom’s hero because he took Ballister out of the picture. They are unable to be around each other normally for very long because of their divided views of what happened. It is only after Ambrosius finally faces the truth that they are able to find peace together once more.

All of this is to say that it’s extremely hard to imagine what their relationship would be like in the graphic novel had the joust not happened the way it did. Which brings us to...

Part 2: The Movie (AKA: “My Boyfriend Sliced Off My Arm Because I Literally Killed Someone!”)

Before we start, I want to again stress that I am not trying to argue that any changes made here are inherently inferior. I am merely pointing out the differences between the book and the movie that contribute to the overall dissonance I and many others have felt when it comes to these two across versions.

Right off the bat, we are greeted with the movie’s version of Ambrosius and Ballister’s backstory. Like was implied in the book, they appear to be together (or something along those lines) which is great to actually see. But it quickly becomes clear that the events here are far different.

Instead of a joust, it is a knighting ceremony. There is no competition between Ballister and Ambrosius here. Ambrosius is knighted and cheered for, and then it is Ballister’s turn. He is knighted and everyone is silent before breaking into cheers as well. And then...

...his sword suddenly turns into a cannon and kills the queen. And in retaliation...

...Ambrosius chops his arm off.

Now if you’ve listened to ANYTHING I’ve said so far, this should immediately set off alarm bells. Because this one little difference changes everything about these two’s dynamic.

In the book, Ambrosius shot off Ballister’s arm in order to win his position. It was an entirely selfish and evil action spurred on only by his uncontrollable want to be the winner.

But here, Ambrosius is debatably justified in his response. Sure, he didn’t have to be as drastic as slicing his whole arm off (and I know there’s symbolism there with how the kingdom has taught people to get rid of problems), but Ballister -- to him -- literally just shot the queen. The queen who Ambrosius has sworn to protect. It is completely reasonable for him to respond in this way. And that’s a huge difference.

By changing this, we already have a completely different situation. Ambrosius here didn’t particularly want to cut Ballister’s arm off, it was a reflex, a response to a sudden danger. (Not saying he wanted to in the book, but there he made the deliberate decision to do so. In the movie it seems much more like an actual accident -- an overreaction that he immediately regrets and, as we’ll see, continues to regret.) And there was justification for it. There was no justification for it in the book. 

Instead of an Ambrosius whose ambition caused him to commit an evil act of betrayal against the man he was closest to, we now have an Ambrosius who, in the heat of the moment, overreacted like he was trained to after Ballister seemingly betrayed him. We’ll see over the course of the movie how this affects things, but that’s not the only major change here.

As we figure out shortly afterward, the movie makes a huge change when it comes to how the story functions, and that’s the timeline of events. In the book, the joust and the subsequent fallout between Ballister and Ambrosius happened years ago. We don’t know how long, but it’s clearly been a while. Enough time has passed where they are fully settled into their roles as hero and villain, and they look significantly younger in the flashbacks as well.

Like previously stated, book Ballister has been a villain for a while. He is completely settled into this role and has been making schemes and having fights of the week with Ambrosius for a considerable time. He knows what he’s doing. He has his own way of doing things, and when Nimona inserts herself into his life much of their early dynamic is him teaching her how he does things. In the book, Ballister is the teacher, Nimona is the student.

But in the movie, this incident just happened. It's unclear how exactly long it's been, but judging from Ballister's arm being created and his wounds healing it's probably been around a month.

Regardless of exactly how long it's been, the point is that these events are still very fresh. Ballister seemingly has just been laying low, not villain-ing it up, and he and Ambrosius haven't seen each other since the knighting ceremony. This changes literally everything about Ballister’s character. This post is specifically about Ambrosius and Ballister’s dynamic and not a Ballister character analysis so I’ll try to keep it brief, but movie Ballister seriously could not be more different from the book.

Compare this to movie Ballister, who I’m pretty sure never knows what he’s doing ever, at any point. He was training to be a knight. He has seemingly never once questioned the Institution. Now he has suddenly lost his arm and been thrust out into the unknown of being treated as a villain, and he has no idea how to handle it. Then Nimona shows up, tells him “hey, the Institution sucks”, and eventually he ends up believing so as well. In the movie, Nimona is the teacher, Ballister is the student.

Book Ballister actively resents the Institution and has no doubts that what they did to him is wrong. He has been plotting their downfall for a while. Nimona, on the other hand, seems to be out of the loop when it comes to the Institution and seemingly only starts hating them after she finds out how they threw Ballister out. Again, I’d just like to stress how completely and totally opposite their dynamic in the movie is compared to this.

There’s also Ballister being a scientist and being much more jaded in the book, but that’s not really important for the purposes of this post. So alas, I shall move on.

This different timeframe greatly impacts Ambrosius and Ballister’s dynamic, and obviously it would. There is a huge difference between a falling-out that happened years ago and you’re both still bitter about, and a falling-out that happened very recently. This, along with the different course of events resulting in said falling-out, is what causes their dynamic to feel so alien.

Also while talking about their early interactions in the movie, I’d just like to point out that while here Nimona is the one to assume Ambrosius is Ballister’s arch-nemesis and call him such, which Ballister doesn’t agree with, they were actually arch-nemeses in the book. Just something I noticed.

Something else I find interesting is later on, Ballister seems to be almost in disbelief about Ambrosius cutting off his arm and makes excuses for him.

BALLISTER: “He didn’t cut off my arm. He disarmed a weapon.”

BALLISTER: “It’s how we were trained.”

(Side note, but I wonder if book Ballister ever felt this way right after the joust? Did he try to convince himself it was an accident too, once upon a time? Did he try to make excuses?)

And to be fair, he is sort of right. Like I said before, Ambrosius’ reaction to Ballister seemingly killing the queen was debatably justified. While we’re obviously supposed to side with Nimona here and agree that Ballister should be more upset at Ambrosius for what he did, the movie definitely paints Ambrosius as more sympathetic overall. We see him freaking out internally about cutting off Ballister’s arm, and there is a lot of emphasis placed on how he and the others were trained by the Institution, inviting the audience to place more of the blame on the system that taught Ambrosius to act this way rather than him as a person.

And again, I’m not saying this is a bad thing! I love a good "taking down a corrupt system” story, and with the different circumstances of the movie it definitely makes more sense to play it this way. But in comparison to the book, Ambrosius is much easier to sympathize with. His character is changed from a very morally gray person who did something horrible and won’t admit it, to a pretty okay person who did something horrible and wholly accepts and bemoans that fact. He’s almost the opposite of what he was in the book.

So we have an Ambrosius who accepts what he did to Ballister and feels awful about it, and a Ballister who has no idea what he’s doing and is basically just being dragged around by Nimona. With both of them being basically the complete opposite of how they were in the book, is it any wonder that their relationship with each other feels so different when they themselves are so different?

Also, once again, the circumstances are very different. There is no Queen murder plot in the book, nor is their any attempt to clear Ballister’s name. A significantly different setting makes a difference too.

I don’t see a need to go into further detail about specific scenes in the movie as I think I’ve made my point clear. But going back to the movie’s lack of Ambrosius and Ballister’s already established hero-villain dynamic, I think these differences are made quite apparent just contrasting how they talk to each other. I mean, just compare these two scenes:

AMBROSIUS: “What? You’re gonna kill me now too?”

BALLISTER: “You believe that?”

BALLISTER: “Then you never knew me at all.”

AMBROSIUS: “uugghh”

BALLISTER: “What if I cut off your arm right now?”

BALLISTER: “Then you’d see how fast the Institution would cast you aside. Just like they did me.”

AMBROSIUS: “You wouldn’t.”

BALLISTER: “No, I wouldn’t.”

BALLISTER: “And I’m the villain.”

BALLISTER: “What do you suppose that says about you?”

Their relationship in the movie is much softer and healthier than it was in the book. Their dialogue in the movie tends to lean much more towards tried-and-true “friendship betrayal” stuff; the wound of Ballister’s “betrayal” may be fresher, but it’s clear both of them love each other far more than they resent each other. In the book, it is the opposite. The movie could NEVER have the bar fight scene. It’s too ugly and bitter to fit these softer versions of Ambrosius and Ballister.

Part 3: Conclusion

So, that was a lot. I hope it’s a little clearer now how big the differences are between these two’s dynamic in the book and the movie! Especially if you’re someone who is only familiar with one or the other. While I prefer the book due to me tending to prefer more complex and messy relationship dynamics, I totally understand the appeal of the more loving and healthy relationship Ambrosius and Ballister have in the movie.

To summarize, here are some of the main takeaways:

Ambrosius causing Ballister to lose his arm is completely unjustified in the book and happens due to Ambrosius’ wild ambition, while in the movie it is a debatably justified reflexive action in response to an active threat.

Ambrosius overall is portrayed as much more sympathetic in the movie, with the system itself being more to blame for what happened.

In the book, the main thing keeping them apart was Ambrosius’ refusal to take responsibility and admit what he did. In the movie, it’s a misunderstanding about Ballister seemingly turning evil.

In the book, Ambrosius and Ballister have a very established hero-villain dynamic with the joust having happened years ago. In the movie the “betrayal” is still very fresh, which leads to very different interactions between the two.

And that’s about it! Thank you for reading this very long post. And if you haven’t read the original graphic novel or watched the movie, go do that!!! Much love to ND Stevenson and the rest of the people who made this story come to life.

Let me know your thoughts in the tags or the replies! Which version do you prefer? Are there any other factors you feel have a significant role in why their relationship feels so different? Or do you think I’m totally wrong about this and they feel basically the same to you?

Either way, thanks again for reading and goodbye!