#oh my god i'm so very sorry

[liltaireissocute]

[PERC'ILDAN]

I united with my husband an we came here to hurt everyone. This is an art for his very angsty but beautiful fic. Basically it's Percy's death but make it Perc'ildan for it to hurt even MORE. Also Cassandra is there. Read it, don't be scared of cyrillic.

[gongyussy]

you think YOU had a bad day at work?

bonus: sid shrieking "no!!!! NO!!!!!" loud enough to be heard in the stands and on camera

[what-am-i-doing-in-this-fandom]

What can I even say here to redeem myself

[vaguely-concerned]

thinking about not only the specific people lucanis pulls in to represent the 'locks' in his psyche, but the storytelling that happens in the structure/order of them. the underlying ideas are presented something like:

the lucanis who went into the ossuary never came back out again; he died down there (the boy caterina raised is gone forever) -> you're putting yourself in danger doing this (by being close to me), you should leave because I can't bear it if you get hurt because of me -> it doesn't matter even if we do try this, it won't work anyway (again because of me) ('you know what he's like, you can open the door but he won't walk through it' :'( oofie doofie) -> what if the real secret is that there was never anything but the monster in here from the beginning. you should leave, there was never anything here worth saving in the first place. (implicitly: what if I deserved what happened, all along.)

it runs pretty cleanly from outward-oriented attachment anxiety ('caterina won't even want me back like this, she won't recognize me (the same way I no longer recognize myself)) and gradually deeper inwards until we reach self-image and self worth. or you know, the harrowing basic lack of it lol.

"careful -- they'll know we're not right," spite says in one of their first scenes... but clearly, some very deep part of lucanis has feared or suspected for much longer than that that there's something inherently not right at the core of him, way before any demon entered the picture. and the voice he gives those lines to is the person who should know him better than anyone in the world, who he has loved more than anyone in the world -- and who deliberately chose to hurt him so horrifically anyway. 'It's better if I'm just a monster and deserved what happened than it is to allow for the idea that the brother I love doesn't really exist and maybe never did'. it's better if he's fundamentally flawed in some way that needed fixing to help him survive, and that's why caterina chose to hurt him again and again -- out of love. (this one I think he might have a very sad wakeup call on one day if he ever ends up with the responsibility and care of a child of his own in some way and realizes just how alien the idea of ever intentionally hurting them for any reason is to him. oh buddy. also interesting that he keeps caterina as the outermost lock -- there IS a distance he keeps there that he hasn't with illario. he doesn't resent her 'anymore' he says, but he also keeps her carefully further away from his deepest self.)

as far as I could tell the only note in the mind prison that's fully hidden and needs to be uncovered is the sad painful helpless stupid little truth that even after all this, even knowing what happened... he still loves his brother. is there anything illario could ever do that would make lucanis completely stop loving him, do you think? sometimes the trouble with unconditional love is that it is, well. unconditional, even when some terms and conditions probably would have been in order haha.

that's the pattern you see there again and again; he would rather destroy and abandon and imprison himself at every turn than let go of love, even when it's just scraps, even when there's only ever enough of it to hurt him. it's only when rook shows up and as it were takes his hand and walks along with him that he can entertain the idea of changing the story of what walking out the door might mean in the end.

[accirax]

(Whit did, in fact, gaf, but he wasn't about to let anyone know that.)

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[somegrumpynerd]

This little interaction made me so happy! Killer really fought through Dream to give Cross his necklace back

Asjlkhdkgkd I'm so glad you liked it!! I had fun putting a little story into that one ^^

And, because I am normal and don't think about these guys for hours every day, here's some backstory:

When Cross first joined, Killer actually took to him pretty quickly (Dust and Horror did not get warm welcomes). Which is to say he immediately started flocking to Cross to annoy him and compete with him on missions. Cross didn't have the benefit of knowing Killer already to see these were affectionate annoyances, so to him Killer was just some guy who had a problem and wouldn't leave him alone.

During that mission, Nightmare was calling a retreat when he put a hand to his chest and realised the heart locket was gone. Killer saw him looking all around frantically and had a good idea what was lost, since it was the one thing Cross would absolutely not part with since he joined. So, Killer ran back out towards the stars to look for it, because why learn self preservation now. It was the first thing to convince Cross that Killer actually was being (relatively) friendly, despite all the annoyances.

And also, a doodle of the afterwards of that picture

because it's probably the only time he's managed to get Killer to shut up lol

[woodlouseonastring]

i just realised val really did get the last word. her soldier ended the first narrator of this story, and ended the narrative of the lives of the people in the old gods world with it

[lukazade]

I can't really put it into words but Gangle throwing off her mask (ep 4) reminded me a lot of Pomni trying to get out of the exit (ep 1)

The music direction and the vibe were like same/similar but one was evil (until the door opened) and one was good (until the truck came by)? Idk what this could mean (it's 11:30pm I'm tired) but I'm thinking about it rotating it there's something there. They happen at similar timestamps too.

Also (because of the above AND the overwhelming B+ grade AND some other things) I'm thinking the circus is hitting the.. [purgatory/sisyphus/the good place/ride the cyclone/not quite truly dead yet] points in my brain. Idk tho this is just vibes! This category of things. And I think the point behind the purgatory is something to do with "correctly" completing the adventures. Which is to say incorrectly. Prove humanity by being human (unpredictable/sporadic/neurotic/angry/panicked). Or something.

Idk. Tired!

[thestalwartheart]

Okay so this quote from Black Doves is so good I wish I’d written it:

“You have a warm heart and blood on your hands, and that’s not a good combination.”

But the brainrot is so real. A second after I heard it I went: “Fuck, that’s Q.”

Thinking about that time Ben Whishaw said Q was warmer than anyone would expect him to be. Thinking about him saying care and concern is at the core of Q and Bond’s relationship, despite all the aggravation. Thinking about him saying Q was just trying to find some sort of balance between home and work life.

This man has a real knack for playing morally grey characters who have a strong, beating heart.

[deoidesign]

Hello! I just discovered your blog and I immediately became captivated by your webcomic, but I'm unsure where to read all of it. I know it's on Webtoons, but I can see it hasn't been updated for a while, and you still post about it.

Are your physical novels just prints of the webcomic? Are they a continuation? Is the story complete? Thanks in advance!

Hi there!

Glad you found me and are enjoying my comic!

It's only on webtoons, and the story is not complete yet! We're 2/3 of the way through right now. It's currently on hiatus, and it's scheduled to come back in about 2 months!

I'll explain why it's been so long if you're curious, but also for my followers who might also be wondering about it under the cut. Sorry, it's pretty much just me complaining haha

I took a month off I took 2 months to get the books printed I took a month to prepare my next comic and I took 2 months to write the rest of the series (I knew the character arcs I wanted, but not the time periods or mysteries!!!) I've been working on actual episodes since then

I had to take some time off because of some pretty extreme burnout due to the sheer amount of work it was to draw over 800 pages and write 6 complete stories in a year and a half... I was getting sick almost weekly due to the overwork, it was really really bad honestly. I was having to work 60+ hours every week just to keep up...

The nature of the comic itself is also difficult... Each of the arcs is a complete, self contained story which can be read (ideally) without context, and my arcs need to be about 10-13 episodes each... And since I have an exact number of episodes to work with, it's even harder.

It takes a ton of planning and a ton of refinement, and working week to week with no breaks I was forced to put out second or even first drafts, so I just wasn't happy with the work I was doing... And to do that for the rest of the series? I wouldn't be proud of the work I did.

Plus... To be entirely honest, webtoon has treated me quite badly IN MY OPINION... They deprioritized me before I launched (I had to beg for more promotion, I'm not exaggerating), they outright denied me the opportunity to even ask for a raise, I don't make any money on fast pass and they pay me less than my partner makes working at trader joes. My first editor left me completely hanging, my second editor (who I loved) was fired... And they told me I wouldn't get a third season before my first season even finished. So it was just repeatedly completely demoralizing.

I'm sorry it has taken so long, it'll have been 10 months by the time I come back. But I realized... I won't get promotion either way. I won't get more episodes either way. I won't get more money either way. So to finish everything, to make it feel good, to make it something I'm proud of, I chose to take longer to make it better.

I am fully aware I will lose a significant amount of my readership for this and it might genuinely affect my career moving forward. But it's what I had to do! So I'm sticking to my guns on it, and I'm confident long term it'll be worth it. It never could have been this good if I didn't take this much time.

[dw-flagler]

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

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

"MHA has better characters,"

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

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

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

"a better plot,"

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

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

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

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

"better worldbuilding,"

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

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

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

"stronger themes,"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

No, the Villains don't get happy endings,

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

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

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

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

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

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

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

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

[magentagalaxies]

"tour of duty" (the filmed version of their 2002 tour) in general is just kind of a bizarre point for kids in the hall that i haven't really talked to any of them about but is hard not to notice when you look at their entire canon. like it's certainly good - there are some tour-original sketches that i highly enjoy and some live versions of filmed sketches that take a fun creative spin on it, but in general things just feel noticeably strange.

buddy cole specifically tells the fur trappers to "fuck off" (buddy very rarely swears and across all the buddy material i've watched for the documentary he's only said "fuck" 3 times across forty years). danny husk wins an award for being a high school vice principal and at&love isn't acknowledged in the bit. the "is he?" sketch has been revised to pack in as many euphemisms for gay as possible, putting the bit on top of another bit. and of course i have my chicken lady thoughts but i don't want to bias anyone else bc i genuinely want to know what your takes are before i share mine.

and again these aren't all bad choices - i think the danny husk vice principal monologue works really well and may not work as well as a different character despite contradicting the Husk Lore™️. but they're all very distinctive choices

idk there's two reasons i personally give for why tour of duty is so strange (to me at least, maybe other people don't notice). the first is that it comes less than 3 years after their other tour-film, the 1999/2000 tour "same guys new dresses" (also available on youtube!) i fucking love SGND and i'll be up front that it's my preferred kith tour video. but part of what makes SGND so special is that it's not just a recording of the live show, it's a full tour documentary following the guys traveling across the country performing together, occasionally showing full sketches but also delving into the stories behind why the sketches played out the way they did. and, sure, sometimes that means cutting out a sketch that i wish i could've seen in full (rip power of the suburbs) but my life is so much better for having seen the "laser eye surgery gossip" or knowing how much drama that goddamn robot-dog-prop caused.

so to then see tour of duty as a straight-up recording of the live show leaves that element of mystery, that we don't get to know why choices were made because we only see the end result. there was a conscious decision not to shoot tour of duty like SGND - the tour doc didn't do well financially, and they also had more of a reason to document that tour since it was their first time working together since the disastrous fallout of "brain candy," and first big national tour since the show ended. the circumstances were just very different

and that's true both personally and politically bc the second suspected reason for tour of duty's weird tone is you can obviously tell 9/11 just happened. two sketches directly reference it - bruce and mark's businessman characters sell scam patriotic products that are all just a rubber band, and buddy cole visits the middle east and ends up having sex with saddam hussein (tho fun fact this concept was written BEFORE 9/11). but the event casts an obvious shadow, especially since both the buddy cole bit and the danny husk monologue were recycled pieces from scott's cancelled one-man-show which was set to debut in new york city on september 19th 2001.

it's also interesting comparing this to SGND. the late 90s are often remembered through rose-tinted glasses due to a generally good economy in the united states and a lot of the social tensions with disenfranchised groups still bubbling under the surface rather than being talked about openly. SGND doesn't reference contemporary events much, but the closure of AT&Love from the KITH finale is undone since the economy has re-entered "rock-on fashion," and buddy cole comments on the Y2K computer bug being underwhelming. (i also went on a super long tangent on how the original show reflected the socioeconomic climate of the 90s but that's a whole other topic i need to go to bed)

i don't know how the KITH feel about "tour of duty." i can't know how much this strangeness was felt for them backstage, and i think in some regards it can only be picked up on as an outsider, albeit an outsider who has watched so much KITH content to know how their work evolved even when not on television. all in all, i'm glad "tour of duty" exists and even the swings that didn't really land for me are still admirable as creative choices.

it's also cool to analyze as someone who has now been to a KITH live show over 2 decades later and got to see those behind-the-scenes conversations play out. the bellini benefit also featured a lot of strangeness, caused by a limited rehearsal schedule and one of the cast members being unable to attend due to illness, but they absolutely exceeded these limitations to put on a very fun show. we did film the performance and rehearsals and that show is going to be released eventually (i'm not in charge of it but the person who is also works on the buddy cole doc so i'm involved). i don't know if it's going to be presented more like SGND or tour of duty or something completely different, but it'll be cool to be part of KITH live show canon

[lunarharp]

into the deep end - 30k T orufrey fic, focusing on memory trauma, disability, and romance.

the sweet oblivion of the victim, the poisoned freedom of the witch.

for one moment - it had felt like two parts returned - the needed reunion of two disparate halves. no more secrets, no more pain.

the moment you get to give back what you never wanted to take. that moment, under the night-blooming flowers, when they had both let out the same single broken sigh of relief.

but they were never whole to begin with, were they?

qifrey swore he wouldn't say 'sorry' to this man any more if he could help it - sorry is cheap now. he didn't want to be in a position ever again where you only have 'sorry' left. so he just looks down into the threads of his blanket, strains his eye until it hurts, feeling his insides - his throat, heart and head - burn with pain. he expects more, but olly says nothing.

olly says nothing.

[zylphiacrowley]

What is Suikoden about? :>

Ohhhhh hohohohoho Meg, you have no idea what you've done (I'm sorry this is going to get wordy... I just really love this series so so much).

So all the mainline Suikoden games (plus Suikogaiden I&II which are visual novels) take place in the same universe, some years apart. All the games have war as a main central conflict, but you usually play as a young "unnamed" protagonist (technically all the heros have like manga canon names iirc), with the exception of Suikoden III which took on a tritagonist situation where you switch between three main heros and then you make a decision about halfway through the game which one you want to be the "main" hero (as a bonus you also get to play the story from the "villain's" perspective as well if certain conditions are met). The series is based on the classic Chinese novel, The Water Margin (perhaps rather losely. I own the novel but I haven't actually ever gotten that far into reading it OTL).

One major important part of the story is the runes system, which is essentially the magic system. There's many runes that you can just straight up buy from vendors in the game, but then there are also 27 "True" runes, which are super powerful, and usually come with built in immortality (except the Rune of Punishment which.... Does not :)) and a lot of them also come with fun and horrible Extra "Perks":tm:! Each game also has at least one of the 27 True Runes that your protagonist ends up wielding. The in-game legend about the origins of the True Runes goes as follows (pulled this direct from the wiki):

In the beginning, there was "darkness." Then finally, the "darkness" shed a "tear." From that "tear," the brothers Sword and Shield were born. Sword Bragged that he can cut anything. Shield replied that he could protect anything. Then the brothers began a legendary battle for seven days and seven nights. At the end, Sword cut Shield and Shield smashed Sword. Sword became the sky, Shield became the earth, and the sparks from the battle became the stars. And the jewels that adorn Sword and Shield Became the True Runes-- The runes that all other runes were born from.

Each game has a "base" that your hero finds at some point that gets built up not only as the story progresses, but also as you recruit characters to your army. Which is another thing all the games share! There is a collection of 108 recruitable characters in each game (give-or-take as III is kind of different in that it includes antagonists, and also the other games have some characters that will take other's places depending on certain conditions e.g. there's one character, who if you make certain decisions, will die in battle, and his son will join your army in his place, taking his place in the roster, but if you don't make those decisions, you keep the father and never meet his son). Not all the recruitable characters are playable in battle however, some of them are there as either battle support, offering you different benefits to your combat party, and some are there to add things to your base such as minigames, shops, or entertainment (The Suikoden II Iron chef style minigame is still my all time favorite videogame minigame, although some of that might be nostalgia talking lol). It's incredibly rewarding to return to your base after recruiting people and then find another wing added onto it and sometimes with more fun minigames to play. It really starts to feel so lively! Also if you recruit all 108 characters and fill your roster (known in-game as the Tablet of Stars) usually before the final major tactical battle, you unlock different really cool extras (like the aforementioned ability in III where you get to play through parts of the game from the "antagonist's" PoV)

Oh gosh, another thing all the games have in common is there are three battle systems. 1) your typical turn-based system (6 characters):

2) a duel system where it's 1v1 in a sort of rock-paper-scissors style thing where you have to read your oppenent's dialogue to determine how they're going to attack and react accordingly or take massive damage

and 3) the large-scale "tactical" battles, where you set up battle units with the characters you've recruited and then you essentially play a semi-chance based version of chess and fling them at each other on the field and try to reduce the enemy to a certain number, hold out until a certain amount of moves/time has passed, or just all out reduce their army to zero.

(also lol this video has the joke about Viktor's Lion flag)

Along with all the war, there's a bunch of deeper underlying themes like companionship, loyalty, hope, grief, loss, guilt, you know all the happy fun JRPG style storytelling elements! And honestly that's what really elevates the games. I think it's a lot like some of XIV, especially StB and HW in that respect. Like yes, war is going on, and it's the main big central conflict, but there's always more to keep you engaged and interested in the heroes and their journeys. I was going to go on and explain a synopsis of each game specifically, but lol just this is already soooooo long. There's also a villain (he's not the main villian.... ohhhhh no) in the first two games who's a vampire, his name is Neclord (fuckin lol), and he has a bangin battle soundtrack:

There is literally so much more I could say about the series, but like literally if it sounds even slightly interesting to you, I implore you to pick up the remasters when they come out in March (I believe on multiple platforms, including Steam and Switch iirc?)

Also a special mention about the creator Yoshitaka Murayama, who passed away in February of this year. He created his own game studio, Rabbit & Bear Studios which developed the Spiritual successor series to the Suikoden series, Eiyuden Chronicle (which had an incredibly successful kickstarter campaign and is available to play to the public right now, and I own but have not yet played).

[lightning-jay]

I love you Rayla from the hit series The Dragon Prince.......