#outside of hero contexts

[doodlejoltik]

my favourite writing device is having an un-Rei-liable narrator

[hall0wedwyrm]

okay guys im gonna need some input because i think about this everytime i go to listen to any Shadow theme song and it drives me insane

Shadow has a lot of songs that could be 'his theme song' but no one (SEGA) can decide which... so im putting it to the fandom.

Little do you all know i have a very strong opinion about this and i will be judging your choices /hj

also drop your opinions in the reblogs or comments im genuinely curious

I was gonna add Throw it All Away but these two are the ones everyone loves to use to its out of these ones lol

[navree]

He's not someone who is trusted. Not as Batman, and not even as Bruce Wayne. Day Two - Identity Porn.

Fandom: Batman - All Media Types, DCU (Comics) Pairing(s): Justice League & Bruce Wayne Words: 4,678 Chapters: 1/1

( for @brucewayneweek )

[mabaris]

begging people to learn the difference between “other characters disagreed with this decision” and “the writers disagreed with this decision”

[alvisgate]

The fattest origami crane Alvi has ever seen will fall in front of him. It’s made of a stack of papers as Artem sent a lengthy letter about their Recent Life events

At first, Alvi finds themself excited to receive such a detailed letter. This soon changes as he reads the contents. He is glad and guilty over the results staining his hands. They are concerned over the abandoned boy Artem and Bugboi are looking after, and, though they resist the feeling at first, end up lamenting over all these changes.

Alvi learns in this moment that one can be glad for a friend while also being jealous. It feels like a sickness that almost matches how he fell ill after his first murder. The crane carries the changing scent of Artem's home that they will soon leave behind, and he fears being left behind too. They have watched their friend open their home to a lover and children, and cannot help but wish that they had a place in it(or, at least, in some family's crowded, loving life).

His mind wanders to future Artem, how they cared for him but didn't seem to count him as family, and how they discussed moving his friends and the children to the future for safe keeping. He notes that he wasn't invited, and accepts that their lives are bigger than him. They remind himself that they expected something like this might happen when coming to grips with their aromantisicm anyway. It would have been easier to take if he didn't realize he wanted to be a part of their family the same moment they understood that he likely never would be.

Wiping a face wet from crying, Alvi composes themself enough to write a congratulatory note, thanking both their friend for the update and the stars that Artem's nose was too weak to pick up on the scent of both cinnamon and tears. He sents the message, grabbing Tank and placing him in bed with a book. As Alvi joins him, he pointedly ignores the letter he was going to send to Art and resolves to try to expand his heart in the morning.

[bassforte]

The Megaman Battle Network experience is thinking you are going through the main plot of the story, beating up a bunch of really tough enemies and gathering some good chips…

Only to realize you are not in fact following the main story and have instead just went through a bunch of optional areas and your chips are kind of op for where you’re at.

[sonknuxadow]

on one hand i really wanna see surge and kit calm down and get better because theyve been through so much and they deserve a break but on the other theyre some of the only villains in this comic i actively enjoy reading about and am not just indifferent to and if they ever switch sides i will have to go back to being bored as hell with a lot of the stuff that focuses on the villains

[nine-blessed-hero]

Today in "I think I'm funny"...

Before I share, 2 important points of context:

In British parlance, a fag is a cigarette

In the Haven's Ember AU, Baurus is gay and American

Tears slid down Aderyn's face, splotching her jeans dark blue. Her shoulders shivered. Her chin shook. "God, I need a fag," she said, voice wavering as she swiped at her face. Baurus held his arms open. "I'm right here." "T-that's a f–fucking awful p-pun," Aderyn said, as she curled into his embrace.

[riverofrainbows]

Eliot Spencer. Listen to me i am obsessed with the man. He is so incredibly stereotypically masculine, and hardcore so, yet at the same time really isn't in ways that would be damning for the 2000s and early 2010s. Long hair, not unusually tall, the most emotionally aware one and most in tune with his emotions on the whole team. (Not that the others don't also have points in that area, but they're all terrible at it in some way and Eliot scores by far the most points.) He has a hobby that's not James Bond like (cooking), and he gets to be goofy while being unquestioned as the most badass guy in the room. And yes he makes inappropriate jokes about lesbians and goes all no homo at physical affection from other men, and younger people probably don't find him quite as monumental as i do in terms of masculinity. But his behaviour never reflects those jokes or the no homo, and he was the red blooded american former military guy character on a big network tv show in the year 2009. For which he was a severely mild case. He treats the other characters as people and not stereotypes, in the way the whole show does, and he has long hair he puts up in ponytails and half buns that have his side bangs falling out (you need to understand what big of a deal the manbun was in like 2013, so much so that they had to invent a word). He's emotional and doesn't actually mean his gruffness most of the time, and doesn't thinks himself above certain tasks or people. He wears ridiculous little outfits without putting up a show about his threatened masculinity, and he's the most emotionally intelligent one outside of cons. He wears little jewellery in his hair sometimes, and little braids even (yes braided hair was a no go), he plays guitar and sings earnest love songs not just to try to get laid (love songs would only be permissible in the immediate context of romance), and whenever they have a young woman as a client, that reminds him of home i presume, he works with so much effort and respect for them as the one he's in service to, and respects their opinion strongly. He wears glasses, and reads books and is way too nerdy for an action hero type of the 2010s. He is great with kids, and unironically so (there were multiple big shows and movies about the topic of "men needing to deal with children on their own" with the entire premise of that being ridiculous and them being naturally bad at it). He's the most stereotypically action hero type masculine guy on the show, and he does get strive or posture for power or dominance in their team, is content with a contributing role and trusting on the expertise of the others, and he is not portrayed as the most valuable one or as that behaviour being beneath him. He undresses so he and the woman he's fighting with are on equal ground reading undress. He is shorter than the others and continuously portrayed as the most dangerous one in any room, and height differences afe never deemphasised via cinematography (seriously, to be regarded as sufficiently masculine in western films they either get really tall actors or employ a variety of camera angles and boxes to give that impression. But just think of Eliot in the pilot when rescuing Hardison in the first break in, standing behind the group of security guys who all look way taller than him and more physically impressive with weapons and all. And then Eliot just in a t-shirt with no weapon but himself.) He has long hair (again, mainstream sufficiently masculine guys didn't do that back then, or now if we think of it (not that long at least)).

The show and all it's characters were a goddamn marvel back in 2009, and sadly in many ways still are today, 15 years later.

And he heals my little broken heart regarding gender stereotypes and masculinity, my heart that grew up in the 2000s and has so much difficulty accepting that my gender is valid. Bless him for it.

[cheapshrimpysheep]

You Will Stop the Wedding! - Idia Shroud

SUMMARY: YOU were the one being kidnapped by Princess Eliza to marry her. How would he react and how would he save you? With the aggravation of he already having a crush on you.

CHARACTERS: Idia Shroud x Reader

TAGS: Fluff; GN Reader; Declaration

WORD COUNT: 1.710 words

Riddle Rosehearts / Leona Kingscholar / Azul Ashengrotto / Jamil Viper / Vil Schoenheit / Idia Shroud / Malleus Draconia

Rescuing You - Deuce Spade; Jack Howl; Floyd Leech; Kalim Al-Asim

COMMENTS: What have I done? Why did I commit to writing this? And why did I write so much? Why was I so inspired? There were seven of them! Why do I do this to myself? So yeah, this took me a long time. But I hope it was worth it, for me and for you.

CONTEXT: Someone was kidnapped to marry some ghost princess and might end up turning into a ghost too. And he just found out that someone was you.

Idia’s tablet was present at the Housewardens meeting. He didn’t really care about that kidnapping story. He even commented that he was just glad it wasn't him. It was because of things like this that he didn't leave Ignihyde, or his room.

So he asks, just out of curiosity, who was the poor person who was kidnapped. He probably didn't know but he could later look at the students' profiles or something, if he was curious. When the Headmage says it was the prefect and your name, the sound of someone spitting out a drink can be heard through the tablet. And then a "Hep!" Idia had spat out the soda he was casually drinking. And then he was afraid he had spat near a cable or something.

When they asked if he was okay, he said yes, everything was fine, it was just... Ortho scared him or something... Since they couldn't see him, he began to silently panic.

When they decide on the rescue plan and are choosing candidates for the groups, he doesn't say anything, he is petrified by the amount of negative thoughts in his head. So, Ortho is the one who offers Idia to be part of the last group. Idia comes back to reality in a panic and babbles very quickly. Ortho asks permission from the people on the other side of the tablet and mute the call for a momento.

Then he turns Idia's chair so that he is facing him and he looks at his older brother very seriously. He knows that Idia likes you and that's why he has to be part of the rescue teams. Being part of the last one is perfect because if any of the others manage to save you, he might just be relieved. But if they fail, he can study the failed attempts to create the best strategy to save you.

Idia ends up saying that Ortho is right and that he will be on the last team. But in his head, he's praying it doesn't come to that. He doesn't trust himself to save you.

But unfortunately for him, that's what ends up happening. And when they are preparing the last team, he tries to dodge it. Ortho gets confused and mutes the tablet to talk to Idia.

Ortho says this is his chance to save you, like a true hero. But that's when Idia says he's no hero. That if it depends on him, things will most likely turn out even worse than humanly possible, and because of him you will end up dying even faster. And this is where Ortho asks him a heartbreaking question: "Are you going to at least try to save (Y/N) while you can, or are you just going to skip into designing a new robot?" Idia looks at him with wide eyes. “There is still time. There is still hope. Don't waste it.”

During the way to the ceremony room, Idia tries to stay behind and offers to stall the ghost guards, but whoever his team-mates were, they either offered to stall the guards first or said that he was the one who should get to the wedding and save you. Again, to an outsider it might seem like he didn't want to save you, but the truth is that he didn't trust himself to save you.

Despite everything, he is the only one who arrives at the ceremony room. And when everyone looks at the person who just entered, he petrifies. The princess asks who he is and what he is doing there. He puts his fists to his chest like he normally does when he's scared.

“I I I I... um... a-am here to... s-stop... the w-wedding?” The princess asks, confused, if that was a question. “W-well... more or less... I mean, my main objective is to stop the marriage, yes, but as I'm not sure if I'll be able to do it, on the contrary, my biggest chances are of ruining everything, so it ends up being just an attempt, so it was indeed a question instead of an affirmation.” He ended up speaking so quickly that the ghosts barely understood half of what he said. He sighs.

“So you're here to stop the wedding.” The princess says. "Why?"

He starts to stumble over the words to respond, then, somehow, the ghosts understand that he is trying to find an excuse to deceive the princess and attack him.

He turns out to reveal himself to be quite capable of defeating the guards with magic. Getting to the point where he started to see it as a game and the smug Idia took the place of the shy Idia. He even says a few lines like "Do you really think you can stop me with those weak attacks?" or “Even smaller enemies on easy mode are harder to defeat than this.” and “Aw, are the gwosts twied aweady?” But all his smugness disappears when one of the guards turns into a giant ghost. Against this one, Idia ends up losing.

The princess approaches him and slaps Idia. “I'm not going to say I didn't deserve it.” he says. “Wait... wasn't I supposed to be petrified? I'm still moving, aren't I? Or was the slap so hard that I passed out and I'm dreaming that I'm moving?”

Everyone gasps, including the princess. When the guards ask what's going on, the princess says it can only mean one thing. Her slap is capable of petrifying anyone, except those who have already found their true love. The reaction from all NRC students is like "What the F-?!" And Idia's reaction is to, involuntarily, turn his hair almost completely pink.

“Wow wow wow! True love is a very strong pair of words.” he says “Besides I don't even believe in that.”

The princess is shocked, a little like the guards, and like a delusional person obsessed with finding true love, she asks Idia why he said that.

Idia starts talking about the brain chemicals that are released to make us feel what people call love. Which is nothing more than a chemical reaction in our body. But the princess doesn't understand anything and says she will prove to him that true love exists by marrying you and taking you to “live” happily ever after with her.

“WAIT! NO!” he screams, scared “Fine, fine. It is true love, whatever, just don't take them.” The princess asks why not? “Because I don't want to lose anyone else! I can't lose one of the only people I care about again! Take me then! I don't care. Just let (Y/N) go!”

Sacrificing yourself to save the person you love? What a true act of love the princess says that is! The greatest proof of love anyone could give. How she wished she had someone like that for herself too. And this was the opportunity that the guard who was in love with her found to declare himself and say that he would give his life for her, after all, technically, he had already done so. And that whole ending of the princess realizing that she loved him too happens, they get married and happily ever after.

After all that problem is over, you don't find Idia. But Ortho appears and hugs you, happy that you're okay. And then takes your hand to take you to his brother. He takes you outside, where Idia was waiting for him, but not for you. When he sees you, the ends of his hair turn pink. Ortho leaves you with his brother, wishes you good luck, says he's meeting Idia in Ignihyde, turns on the turbo at his feet and disappears.

He turned his back to you when Ortho left. “Oh yeah, um, it's getting late, I have to go back to Ignihyde...” You'll have to be the one to stop him if you want to talk to him about what happened. The moment he turns around and looks at you, the ends of his hair will turn pink again. “W-w-what?”

If you start talking to him about how he saved you, or at least how he was probably the most important part of your rescue, he'll tell you not to be ridiculous, that he didn't do anything. The ghosts just started having a strange conversation about love and somehow the princess decided to exchange you for that guard. “An abrupt and sudden drop in standards, let me tell you that.”

He will try his best not to talk too much about what happened, unless you find a way to get him to talk. And the way you found to do this, in a way that wouldn't force him to do it, was to being the first to be honest about the matter.

You tell him how you felt when you saw him enter the ceremony room, how much you were rooting for him to be able to save you, how cool you thought he was while fighting the ghosts and, most importantly, how scared you were when he told the princess to take him instead of you. This boosted his confidence.

“Oh, that... I... Honestly, I didn't want to save you.” Before you could react, he continued speaking. “I was too scared of making everything worse. I couldn't be responsible for another...” he interrupts himself, to take a deep breath and speak quickly “Okay, fine, I admit it, I like you, and that's why I was so afraid of ruining everything. But I ended up having no other choice and I couldn't lose another person I love. Happy now? Was this what you wanted? A cliché declaration of love after a life threatening situation? Congratulations, you've unlocked one of the most old fashioned achievements in the game.” and seeing that you were smiling, he adds with the confidence he has suddenly switch on “Well, I hope you like the route you just got for yourself, because now there are no more saves to change your choices.”

Unfortunately for you, he's not the type to go in for a kiss after this. Unless...  you’re the one doing it for him. A kiss that he will return with pleasure and confidence. And you will feel a new warmth coming from him, from his hair.

If you would like to read more from me, you can find it in my pinned post: INDEX

[codenamesazanka]

The park flashback/scene where Tenko plays with Mikkun and Tomo-chan in Chapter 418 first takes place in early afternoon, as evidenced by the clock reading almost 2:00 PM.

The art in the scene confirms this: clear bright skies, and the shadows under the children are short.

However, the time in the scene changes after Mikkun and Tomo-chan tells Tenko he should be All Might (the moment Tenko decides he wants to be a Hero, as he tells his mom in Chapter 235). Suddenly it's evening: the clock shows 6:13 PM, and the sky darkening because it's nearing sunset.

When Shigaraki/Tenko thinks of the League, he and the League (and Deku) all have long shadows, the kind you see when the sun is low in the sky.

＊

The context:

Sunset is the time to go home. Children who have been playing outside, in playgrounds, at the park, are supposed to go home, to get back in time for dinner, back to their families.

In Japan, many cities and towns have a bell/chime/song that plays from public loudspeakers at around 5:00 PM. It's a daily test of an emergency broadcast system, but it has also come to be seen as the evening bell, a 'go home' signal, especially for children, telling them to go home before it gets dark.

In manga and anime, all these elements have become common imagery and symbolism, associated with each other: red-orangey colors, sunset, long shadows, the chime, children saying goodbye to their playmates for the day, the idea of home and return.

(from Mushishi)

＊

Putting it all together:

When the park scene first shows up, it's Tenko memory of playing with Mikkun and Tomo-chan, likely exactly how it had occurred in real life: it's early afternoon, the sun is shining bright, their shadows are short, they're at the park, they're playing Heroes, and when the kids tell Tenko that he should be All Might, Tenko is overjoyed.

But this isn't the scene 15-16 years ago; this is a memory. Tenko is also Shigaraki here. He has just had his core pried open by Deku, and given relief. The Crying Child has been symbolically saved, but the past, the massacre, the Walk still all happened.

So it's suddenly 6:13 PM, it's sunset now, because it's way past proper time (5:00 PM) to go home - because Shigaraki/Tenko can't go home to the Shimura house. It's too late. It's been long over.

Shigaraki/Tenko then looks away from Mikkun and Tomo-chan, to the side, and say, 'Nah' to their suggestion, because besides it being late, he also no longer wants to be All Might. He's deciding he's a Villain, he still holds malice and he still destroys.

So, the scene changes again to contains the League now, all six of them (plus Deku). They exist in this sunset time, hence their long shadows. They exist with current Shigaraki/Tenko, they exist in the now - and arguably, the League would be the home he would return to at sunset.

-

Up to interpretation, of course, but the sunset/going home context is real.

Japanese tweets about it (translated):

[When Tenko got the words he wanted, his eyes lit up, but it was past time to go home so I'm guessing that means "it's too late."]

[It is just heartening that the League members are the place where Tomura would return to when it was "time to go home." I'm sobbing]

[In the scene where Tenko is at the park, the clock is already past 6:00 PM, the time when good kids go home, so if he had met Deku a little earlier, Deku might have been able to stop him, but this seems to show that they're past that stage now, which is good.]

[zan0tix]

Hi tumblr user Zan0tix, I have to say that I love that you draw Jake as big and hairy AND fem. It's such a rare combination outside of mean-spirited caricatures, every time I see your Jake I get a big smile on my face. :)

Hi tumblr user HermitCyclop ^u^ here is a jake drawing for you 🫶

The transmisogynistic demonisation of these features is so maddening!!! I agree! Im glad that the intent (appreciating these features) of my jake design reaches you c:

GOING TO PUT IT UNDER THE CUT BECAUSE I HAVE SO MUCH TO SAY. But jake english gender meta because i think about it Too Much and am taking this as an excuse to infodump abt it. 😁

The alpha kids and their specific defiance of both homestucks gendered narrative AND real life societal expectations are so fun to think about to me!! but since we are talking about jake, his specific defiance of both homestucks models of masculinity and femininity in the context of his queerness is like the reason he is my fav character.

He props himself up that he wants to be the adventure "hero" in the homestuck sense (the hardheaded blue femme fatale) and the western media sense (the hardheaded action man) yet whenever pressed to actually act on what he says he always refuses or obfuscates. Because really what he wants is to just be himself! I really love the alpha kids because they all just want to be Themselves, not be restricted and defined by what is expected of them, (all the characters have this but the alphas particularly really hammer this home for me)

The heavy emphasis on their beta selves, the heteronormative archetypes they embodied and what went wrong in their lives that manifest as fears in their alpha selves... im always thinking about it. How differently society affects queer ppls choices in life and then the fact that they all get a second chance and getting to watch them live out that second chance and realize their queerness and them all caring so much abt eachother and wanting to aspire to be better FOR the ones they love!!!!!! it always tugs at my heart strings to ponder😢😢

IM SO GOOD AT GOING ON TANGENTS MY BAD but basically. The alpha kids explicit queerness and how despite the comic itself protesting, they are all shown to be deserving of love (of all kinds) And as a person who super heavily relates to jake, his experience with his own identity (and dirks unending adoration and love for him and likewise jakes belief and admiration of dirk) serves to me as a reminder that yknow! We are all worthy of love!! Even if we dont think ourselves to be (this is just the message of shrek.) and there is always hope to be found in things improving!!!!

But in a text thats explicitly queer and not shy about letting its queer characters do wrong in realistic ways i think this message is incredibly powerful and certainly one of the best things about the comic in my eyes. And i love embracing that in my art of the characters! Drawing queer (but here specifically trans) characters all getting to be proud of themselves and their appearances makes me feel proud of myself alongside them and I think its wonderful to be able appreciate other trans peoples experiences and looks through it too!!

I specifically in homestuck fandom dont really see anybody but twinks (usually dirk or eridan LMFAO) portrayed to be fem in any manner 😢 when jake is the most explicitly feminine man in the comic. (I think the transmisogyny thats kind of rampant in this fandom means people dont want to consider those outside conventional attractiveness being feminine or transfem identities outside binary transwomen if even that😭😭) I am being the change i wana see in the world 🙏 The amount of transfem fat gay bear jake in the world increases by one every time i post

[mysterycitrus]

Mayhaps you've already taken a shot at answering this. Why do you think people in fandom get Dick Grayson so wrong?

to be totally honest i don’t know? like, i’d say a significant part of it is because the two icebreaker comics people seem to read when they’re getting into dc are red robin and under the red hood.

rr2009 is about a complex grief spiral that challenges dick and tims relationship before they ultimately reconcile, but if ur not interested w engaging w the story it’s very easy to villianise dick (and damian) for tim whump.

utrh also relies on a lot of context from other comics at the time, and i think a lot of people conflate bruce’s actions to dick, particularly with the movie, to make jason the victim rather than actually considering the actions he takes. idk. we fear complexity, ig

it’s weird because many of dicks most important and foundational traits — community, his relationships with his neighbours, his status as a big brother and mentor to young heroes, his kindness, his abrasive but ultimately loving relationship w bruce, his propensity to pick arguments, and his role as a beacon of light in gotham — evidently are popular because they’re consistently lifted to give to other characters. in return, dick is flattened to either an absolute enabling asshole or a total idiot with no friends who can’t even defend himself. it sucks

even in regards to angst…. a lot of what people write fic about has happened to dick rather than other characters. in modern canon he was fired during an argument with bruce. he was homeless and isolated during the latter half of grayson’s 96 run. he’s consistently hurt by bruce and his other family members when they throw hands at him outside of combat. like…… *smacks him* this bad boy can fit every fanon trope in him np

itd be nice for people to engage more with his character, but same with damian or cass it would require that other characters not be trapped in permanent victimhood or actually meet dick on his level. dick is the most emotionally intelligent person in that family and uses his powers to say the most heinous things imaginable. he’s the second best detective. after cass he’s probably the most dangerous physical combatant. he doesn’t need tim drake to show him how to reset his wifi password

[liloinkoink]

last night i asked if people would be interested in me posting a backstory piece for Martyn from the hero/villain / yellow rose au i’ve posted a single oneshot for despite the fact the backstory piece doesn’t seem to outwardly relate to the posted oneshot. no one outright shot me down so. here you go

for some context, the powers in this world of yellow rose come from a catastrophic event that took place almost 20 years prior to the start of the story, which wiped out a lot of the world’s cities/towns and gave many of the survivors powers or mutations

backstory takes place when Martyn is 0-10 years old (he was born shortly before the aforementioned catastrophic event) and focuses on an OC parent character / martyn’s relationship to said parent

anyway. yellow rose is an au made w @cherrifire. time for you all to meet robot dad

It’s hot on the day the world ends. This is not the only thing it remembers, but it’s one that still stands out, even years down the line.

It’d been dealing with a patient with symptoms of heatstroke, the third it had seen in an hour. Heatstroke is an easy enough ailment to give to a nurse bot to treat, so it gets the job. It had stepped out of its patient’s room and run into a doctor, who had asked it to fetch something from the basement storage.

This is why it had survived, it thinks, looking back. It had been in the basement, and by some stroke of luck, the building had not collapsed so completely as to destroy it alongside the rest of the building.

It had not had a concept of luck before that moment, before the shaking had stopped and the dust had cleared, leaving it mostly in tact. Once it had forced its way up the stairs, it found it was not sure whether surviving the collapse was good or bad luck.

When the nurse bot tried to ring its network for help, it found the line inside its head had gone dead. When it looked to the surrounding street, it found hundreds of buildings similarly smoldering. When it called out, it found only its own voice returning to it.

The nurse bot had tried to comb through the wreckage of its practice, looking for survivors. It found nothing, heard nothing, but it still attempted to sift through the rubble, to search for the people it had been built to assist.

A nurse bot’s arms are not meant to move stone and iron, however. It was not used to the strange things that happened in its processing when it thought about what might be under the wreckage, and did not know how to handle them. It made a mistake, lifting things it could not, and when the wreckage in its grasp had buckled…

Well. It had thought itself lucky, distantly, that unlike humans, robots are not generally “handed” in one way or the other. Statistically, it would have preferred its right hand, and it would have been much worse off when the debris crushed its arm, taking its limb from the elbow down.

Ah, and pain, of course. It would have been quite bad if it had been able to feel pain, or bleed. It probably would have died, had this fallen on it, or had it lost a flesh and blood arm.

It… does not look in the wreckage any longer.

The nurse bot did not know what to do, with the practice it had spent its whole existence in destroyed. It had never been outside before—at least, not while activated. It had never left the walls of the hospital it was built for. It had not been intended to function without direction.

It knew its purpose, though, direction or not. The nurse bot had been built to heal. It knew, direction or not, how to do this, and that it must do this. And certainly, if it looks, it would fine someone out there who needed it.

When it comes to matters of health, time is of the essence. With its direction decided, the nurse bot begins to walk.

It finds people, rarely, stumbling and unharmed, or nursing small bruises or minor sprains. It helps these when it can, and gives advice when it cannot. It finds bodies, often, and it looks away, as it has never seen a funeral, and it does not know to help the dead except to assist the living.

It finds a woman soon to be a body, despite its best efforts to help her. It lacks supplies to stop the flow of blood from her wounds, and the woman lacks any hope without stitches or bandages.

It offers her sympathies, and it holds in its one hand both of hers. There is little it can say to her, but it tries, quiet promises of I am here and I will not leave you and you will be at peace soon.

She holds its hand with all the strength in her body, knuckles white as paper, a stark contrast against the dark blood staining the rest of her body. It feels as the strength fades. It watches as the light in her eyes fades with it. She lets it go, and it closes her eyes.

The nurse bot keeps walking, keeps looking, until it hears crying. The sound is loud, a desperate sob of a young child, and it seems to stem from a building sagging in three places, roof and door and floor all ready to give in.

If it were human, the nurse bot may have thought the place too risky to enter. But it is not, and so in it goes, pushing the door open with one hand.

It finds the boy lying in his crib, a round-faced infant wrapped in a patterned onesie and kicking away a thin blanket. He cannot be more than a year old—the nurse boy would guess him to be maybe six months. The fact the boy and his crib have survived the destruction of the city is a miracle, one not offered to the rest of the home.

It reaches down into the crib, brushing its hand over the boy’s face. His sobs stumble, a bit curious, but the baby ultimately doesn’t stop crying.

The nurse bot hadn’t worked with a pediatrician, but it knows about children, as any nurse bot would.

“Are you hungry?” it asks. He doesn’t answer except to cry more, which is understandable—this is what babies do, it knows, and besides, this has been the chosen course of action for most of the people it saw today.

It could not help those people, but it can help with this.

The nurse bot steps away from the crib to examine the boy’s room, though the boy cries louder when its face disappears from his view.

“I will return shortly,” it tells him. This assurance does not calm him down.

It finds what it can in the rest of the home—food for the baby, a warmer blanket, a box of diapers. It finds the living room, where living is not what his parents are doing, and gingerly shuts the door. It finds a photo album and flips through, searching for the information it needs: delicate handwriting next to an image of the boy, held in the arms of the woman on the floor a room over.

April 7th, 20XX: Welcome to the world, Martyn!

His name is Martyn. His birthday is April 7th. The nurse bot usually keeps these things on file about its patients, and so it files them away.

When it returns to the crib, the baby inside is no longer crying, having worn himself out. It reaches down again, face blank.

“Hello, Martyn,” it says, “I am going to be your caretaker for now. I hope we will get along well.”

— — —

They don’t stay in the house. It finds a baby carrier in a closet and a duffle bag in the bedroom, and it packs what Martyn will need and carries him out of the collapsing home.

Martyn laughs a lot. Once he’s been fed and changed and has slept, the nurse bot finds he laughs all the time.

He doesn’t know, it thinks. He must miss his parents, probably, but he doesn’t know. He isn’t old enough to understand any of this. He watches the broken and bloodied street with awe—has he ever been this far from home before? This is all a big adventure to him.

It doesn’t tell him.

— — —

It stops three times a day to change and feed him, and to let him crawl around in the cleanest and sturdiest places it can find.

“Movement is good for development,” it tells him, watching him play with a piece of rubble.

It doesn’t stop to rest at night—it doesn’t need to, and the rocking motion of his continued steps helps Martyn sleep. When that isn’t enough, it tries to replicate the songs it has heard playing in the clinic’s waiting room, or seen mothers and fathers sing in the clinic to calm their children. Martyn seems to like that.

He likes the nurse bot’s hair, too. He tugs on it all the time as the nurse bot walks, held close to its chest, close enough to its head to access it. It lets him—it doesn’t hurt, and besides, it has few other ways to entertain him.

— — —

Martyn grows. He starts to babble, and to toddle. He becomes too big for the bot to carry him, but by then it has become adept at finding places to hunker down for a while.

“Your name is Martyn,” the bot tells him, pointing to his nose.

“Ma,” he tries.

“Very close,” it says. He grabs its hand, tugging, and continues to babble.

“Da,” he says, and it knows that he doesn’t have a concept of fathers or parents or the English language, and he is only making sounds.

“That is me,” it says anyway, and Martyn continues to babble.

— — —

“Dad,” Martyn tugs on its arm, barely tall enough to reach its fingers. “Daaaad.”

“Hello, Martyn,” it says, “What is it?”

“I’m bored,” Martyn says, “And I’m hungry.”

“We still have some food left for you, though I should start a fire soon,” it says, “We will need to move soon. Children your age need a variety of foods to—”

“Grow up healthy, I know,” Martyn whines, “That’s boring. I’m bored.”

“What would you like to do?” it asks, and he lets go of its hand, running off. It stands to follow, but then he’s back, holding a battered old book—some kind of short novel, something with a torn cover that used to have a dragon on it. The title is gone, as is the dragon’s head.

“Read this,” he says. Martyn is learning to read, but he hasn’t quite got the grasp to read a real book on his own yet.

This hasn’t stopped Martyn from searching for them, though, nor from presenting them to his father to read. It had started reading one aloud to Martyn to entertain him when Martyn had come down with a fever last year, and he hasn’t stopped asking to hear them since.

“After you eat,” it says, and Martyn cheers.

—

There is a group of survivors picking their way through town. The bot sees them before they see it, watching the street from a window. It does not know their intentions, and it doesn’t plan to find out.

It crouches down in front of Martyn, putting its hand on his shoulder.

“Hello,” it says, “We’re going to play a game, okay?”

“Okay,” Martyn says, and it nods, once.

“It is called hide and seek,” it says, “There are some people who are looking around town, trying to play, and we are going to hide from them. We will win if we are not found.”

“That’s a dumb game. Why don’t we play something else?” Martyn asks.

“It is their favorite game. We are going to play because that is what they like to do. But we are going to be very good at it and hide very well,” it says, “You can hide with me, okay? If we win, there will be a special prize.”

That’s all it takes to convince Martyn, who smiles and nods and follows it as it ducks away into the closet. Its legs creak as it sits down, and then it opens its arm, letting him sit in its lap. It can’t be comfortable, all cold metal, but Martyn wraps his arms around its torso and settles right in, content with the hand on his back.

“Now we must be very quiet,” it tells him, “I will tell you when we can talk again.”

Martyn nods, and it puts its hand on the back of his head, and it waits.

When the strangers leave, it asks him what he would like for his prize.

“Hug me again!” He says, and it obliges for as long as he wants.

— — —

Halfway through its sentence, the bot’s voice cuts out.

That has not happened before. Martyn seems unfazed, especially when it begins to talk again, but it takes note of the error.

— — —

It happens more. Its voice cuts out, stutters, corrupts. Martyn really only complains when they’re reading, but it starts to fear the worst.

It sits Martyn down, crouching down to meet his eyes.

“Martyn, I have something very important to tell- to tell- to tell you,” it says, and if it could, it would wince.

“Yeah?” Martyn asks, “Are we moving again?”

“Soon,” it says, “But that is not what I want to tell you.”

“Oh,” Martyn says.

“I am… sick. Do you remember what being sick is?” it asks. Martyn nods, reaching up to put his hand on its forehead, the way it had for him when he had been feverish.

“You feel warm,” Martyn confirms, “It’s okay. I’ll read to you until you’re better.”

“Thank you, Martyn. You are very kind,” it says, “But that is not the kind of sick I am. There are many kinds of sick.”

“Oh,” Martyn says, “Then what kind of sick are you?”

“I am… robot sick. I am- I am- I am- I am- getting old,” it says, “And my voice is starting to… not work properly.”

“I know that,” Martyn says, “You talk funny now and you keep messing up reading.”

“Yes, that’s right. You’re very smart,” it confirms, “But it might get worse. I might not be able to talk anymore soon.”

“But you’ll get better, right? I got better,” Martyn says. It shakes its head.

“I might, but I might not. Robot sick is different,” it says, though it knows it is lying. “I just wanted you to know. If you talk to me and I do not respond, I am not ignoring you. I am still listening. I am just sick, and my voice- my voice- my voice- my voice—”

It shakes its head, the way humans sometimes do, to clear the sentence. When it looks at Martyn again, he seems thoughtful.

“Will you still read to me?” he asks.

“As long as I am able,” it promises. And, for good measure, “I love you, Martyn. Do not forget.”

“I won’t,” Martyn says, “I love you, too.”

— — —

It makes a point to show him how to read. He had already been learning it, but it doubles down when its voice begins to waver.

It picks up novels and reads them to him with Martyn in its lap. It holds its arm around Martyn’s waist, and Martyn holds the book for it to see, and it reads the words Martyn points to, so Martyn knows what they are.

It doesn’t want him to lose this. It doesn’t want him to lose his fun, his creativity, his imagination, just because it cannot read to him anymore.

— — —

It loses its voice for good while it is reading to Martyn.

— — —

Its voice is the first thing it loses, but it is not the last.

Control of its fingers becomes… tricky. Martyn has to help it, doing things that require finer movements.

“Is your hand sick?” he asks, and he sounds afraid. It nods, because it knows it shouldn’t lie to him, even if it wants to.

It loses what little control it had over its face next. Then its neck becomes stuck. It doesn’t seem able to walk as fast, though that might just be due to Martyn getting faster—he grows older still, full of energy, constantly wanting to run and jump and play on his longer legs. It tries its best, but it cannot keep pace like it used to. It used to sing and walk all night, and now it cannot do either.

Martyn is as patient as a six year old can be, which is not very. He gets frustrated and bored, and he complains often. It does not blame him for this. He is doing his best, too, and that is all it can ask.

— — —

There are people. It tries to hide—pulls Martyn into a closet, tucks him close to its chest, pets his hair with his hand—but Martyn doesn’t like to play hide and seek, and he doesn’t know he has to be quiet.

“My name is Martyn!” he tells them, once the closet door opens, “This is Dad. He’s sick.”

They’re nice enough, a woman and her teenage son. It—he, now?—releases Martyn to talk to them, and climbs out of the closet. He hovers at Martyn’s side when they climb out, a hand on his son’s head.

“Why were you two in the closet?” the mother asks.

“We were playing hide and seek. That’s what Dad said other people like to do, but I don’t like it very much,” Martyn explains. She nods.

“Most people do like to play that game,” she says, because, as a parent, she must understand his fear. “But we don’t, either. Do you want to travel together for a little while, Martyn?”

“I want to!” Martyn says, and he looks up at his father, and his father would sigh if he could.

He nods, because what else is he meant to do?

— — —

The teenager entertains Martyn, reading to him the book his father never did get to finish. The mother cooks, and she takes a look at his hands.

“I used to be an engineer,” she says, “You’re a bit above my pay grade, but I could take a look, if you want.”

He doesn’t let her crack him open or anything, but she inspects the pieces of his wiring she can see. He’s reminded of his old clinic, though he can’t tell her how ironic this is.

Her prognosis is… grim.

“You probably only have a few years left in you,” she admits, “Your model was supposed to go for regular updates, replacing parts and…”

He doesn’t listen as she explains the old process, his focus instead on Martyn.

Only a few years? What will happen to Martyn? Who will take care of him?

Humans need care until they are eighteen.

Martyn is six.

“I could try and make some minor repairs for some of the obvious damage, but I don’t have tools for anything more. I can also try and tell you some things you can do to try and stretch that time out,” she says. He nods, understanding, grateful, as she does what she can.

He had been in her place, once, years ago, and so he understands, too, when she offers sympathies, when she holds his hand.

— — —

They split off from each other eventually. The other two are traveling to a place they claim never fell. He does not believe in such a place, and so he does not go with them.

Martyn cries. The mother hugs him, as does her son, and they are gone.

As they walk away, he holds Martyn’s hand, and he does not let go.

— — —

He teaches Martyn how to do… anything he can. He is too young to understand how to hunt or set a trap or clean an animal or cook or treat a fever or start a fire or boil water, and it is very difficult to teach when he cannot speak. He’d wanted to wait until Martyn is older, he does not have the luxury of time anymore.

Martyn is clever, is bright. He takes to the skills as well as a six, eight, ten year old can, and it is only partly due to the fact he has no choice.

— — —

He knows he is dying.

Martyn does not.

He picks up a stick, waving Martyn over. There is a patch of dirt that is mostly clear, and he crouches in front of it.

I AM SICK he writes, and Martyn reads it, and he frowns.

“I know that,” Martyn says, and he shakes his head. The dirt is soft, and so he clears it, trying again.

I AM VERY SICK he writes. Martyn reads it, and he frowns deeper.

“What does that mean?” Martyn asks.

I WILL SLEEP SOON he writes. He wants to be delicate, but he can’t—the patch of dirt isn’t very big.

“Oh, well, that’s okay. I sleep all the time,” Martyn says, “That’s how you get healthy again. It makes you feel better. You told me that.”

He wants to nod, but he can’t. This is the bit he was dreading the most.

I WILL NOT WAKE UP he writes.

For a long moment, Martyn doesn’t say anything.

“What if we get you medicine?” Martyn asks, “When— when I was sick, you found medicine. It made me better. It would make you better.”

NOT FOR ROBOTS

“That… that isn’t fair, though,” Martyn says, “Are you sure? We could get some and try it!”

I AM SURE he writes, and then he erases it, I LOVE YOU

Again, Martyn says nothing. He isn’t sure what Martyn is thinking, and then Martyn charges him, hugging him around the stomach.

He has more he wants to say to Martyn—he wants to teach him so much, to tell him to be careful, to tell him he’ll be okay.

He drops the stick, wrapping his arm around Martyn as tight as his failing joints will let him.

— — —

His goal is to find somewhere safe. An old house, maybe, somewhere where Martyn will be able to survive on his own for a while.

He looks, and he does not find it. He’s been looking for ten years, after all—of course he wouldn’t find one now, just because he is dying.

Other than that, his life does not much change. He holds Martyn’s hand as they walk, and Martyn talks to him about birds and books and whatever else he can think of. Martyn has become very good at filling the air for them both. Neither of them let go of the other’s hand.

He doesn’t actually know when it is going to happen, just that it will be soon.

When the moment finally comes, he does not realize.

They stop to rest for a night. Martyn is tired, as he is a child, and his legs can only carry him so far. He is tired, too, but he does not have it in him to think about why, or how strange that is.

It’s nowhere special, where they stop. A random house that has kept its roof, somewhere safe from rain and sun. Martyn finds a place to roll out his sleeping bag, and when he lies down, his father lies with him.

He does not let go of Martyn’s hand.

[astronicht]

Hi I hope this isn't presumptuous, but so, that post you made about Tolkien making the lads leave their weapons outside the hall and CS Lewis thinking the hall was gonna get burned down by a lady who also wanted to kill herself... what's the historical precedent for that? Is there a trope in medieval lit where people like... do that? I ask because uh. I am obsessed with Children of Hurin and there's a scene where that like, happens. And I'm obsessed with that scene, and would love to know if there's like, cultural/mythic context that would enrich my knowledge!

OH BOY, sorry I'm getting to this late, it's been uhhh a summer, but one, this is a very good question!! And two, yes there is absolutely precedent, particularly in early medieval literature, and high medieval literature set in the early medieval (circa 500-1100 AD) past. I'll let someone else debate how often people actually historically locked their enemies into a hall and burned them, but especially in Old Norse literature (and if Fellowship felt like it leaned a little more on Old English literature, Two Towers, where Eowyn appears, felt a little more Old Norse) this is common. Off the top of my head, you've got many Icelandic family feuds ending in burning the whole family in their hall, like Njal's Saga (Old Norse), Attila the Hun dramas (yeah he's a big guy in the burning halls circuit, but actually not in the way you might expect) like his cameos in Volsung Saga (Old Norse) and Nibelungelied (Middle High German), and my vague recollection of a few Irish and Welsh versions that no search engine is giving up for me right now.

This, predictably, got long and slightly off topic.

Disclaimer: As usual, I should say I come from an Old English-centric background, and Old English literature is actually notable among all its neighbors for not burning down too many halls. Second disclaimer, all links are not proper citations, they just go to wiki.

Hall-burning in literature is, to my understanding, part of the concerns of a few early medieval cultures in which revenge is not only expected but in many cases legally reinforced and codified, and one in which conflicts could spiral to engulf -- figuratively, or literally and in flames -- entire families. Many medieval Icelandic sagas are focused on this exact type of destruction of whole families or friendship/community units. Most relevant of these to Eowyn, Two Towers, and the vibes of Edoras (since alas I am only partway into RotK and can't speak to Children of Hurin yet!) is Volsung Saga, which is set on the Continent, not Iceland, and actually has to do with Attila the Hun. As mentioned before, an incredible amount of stuff turns out to have to do with Attila. We will come back to him!

So, on the particular post you're talking about, a few people iirc have replied pointing out that the hall in TT is clearly supposed to be based on a hall from Old English literature, namely the hall in Beowulf, which famously did not actually get burnt down. And that's all true! I was not posting with much nuance; I was mostly having a joke at the expense of CS Lewis. However, I was also referencing a very very common trope in Old Norse/early medieval stories, and I personally think JRR was as well (AND I think Beowulf was also very consciously referencing the exact same motif anyway) (no one has to agree with me, a tumblr blog, on any of these points).

The thing about the hall when our heroes approach is that the scariest damn thing in that hall is Eowyn. Certainly not every hall-burning story requires a woman with no other recourse to set the fire (in fact, the "warrior band approaches unknown hall which might have a grudge against them" is a trope that can get you killed in a pretty homosocial environment, as I guess Aragorn at least was aware, being a big reader). Still, the presence of a woman who is swiftly running out of options does fit what I'd consider one of the or perhaps The best known version of the early medieval burning hall trope: Gudrun, who shows up in at least a dozen different texts in both the Scandinavian and the German language traditions, including Volsung Saga, a text which itself often gets paraded around as the basis of lotr (which I'm sure it is, in that JRR appears to have simply and very fairly based lotr on every piece of early medieval vernacular literature I can think of).

In a portion of Gudrun's story (which of course changes a bit in each retelling), after her first marriage she is unhappily married to Atli, who is none other than our main man Attila the Hun. After Attila kills her brothers for reasons (in one version, her father), seeing no other way to take the necessary revenge and no other way out, she kills the two sons she had by him, serves them to Attila for dinner, has Attila killed, and then sets fire to the hall with everyone in it. After this, she attempts to drown herself.

The self-destruction of this act is a really important beat, and has only gotten more-so as a comparison to Eowyn the further I've read into RotK (currently, I'm at the houses of healing after merry and eowyn take on the witch king). It's a lot clearer in the book than the films, for me, that Eowyn going off to battle was not so a straightforward empowering and/or freeing move, despite allowing her some agency, but more the one path she saw as available to her with which to die with honor (which was pretty much exactly what Gudrun was facing as well). Like Gudrun, whose first husband was a great hero but has died, Eowyn's romantic choice is a hero who is presumed dead (sorry Aragorn they did Not believe in your ghost skills). In fact, in some versions Gudrun does put on armor and fight with her brothers before they're killed. She kills Attila with her own hand, with the help of another man who needs to avenge a blood feud against Attila.

So while Eowyn didn't get forced into marriage to Attila Wormtongue (with apologies to both historical Attila and that one historical skald also called Wormtongue who was reportedly hot) and burn the whole place down, she's still trapped, and like Gudrun chooses destruction alongside her household.

Reading her arc feels so much like watching Tolkien write a fix-it for Gudrun. What if she got this one little chance, and this one other little chance, and this one more -- tiny little shifts in the narrative that allow her to get out, and not through fire, and not through death.

Anyway, this got away from me. I hope it added some context to the Children of Hurin arson case! Thanks for the ask

[haine-kleine]

after sitting with my thoughts about the epilogue for some time, I think the thing that broke the story had started right after Dabi's dance. said thing is LOV' utterly out of character treatment of each other and Shigaraki specifically.

them just standing there and passively observing the scene makes absolutely zero sense, if you use anything from their previously established relationships within the organisation for reference. especially with All for One's creepy comments. Spinner even points out shortly before this chapter that AFO!Shigaraki seems nothing like his normal self and this person is not the one he had chosen to follow.

and yes, Spinner does approach screaming Shigaraki and tries to help him, and his concern later leads him to seeing Shigaraki's mutated form in the cave, and on its own this development for Spinner is in line with his character and all around fine. pretty reminiscent of Toga and Twice, too.

(except Spinner is not allowed to really help Shigaraki in any way, unlike Toga was allowed to help Twice, and this entire thing between Shigaraki and Spinner only ends with Spinner's regrets and survivor's guilt instead of anything good or meaningful that isn't meaningless angst porn)

it isn't Spinner approaching Shigaraki that is the issue, it's the other's complete lack of action or even reaction besides appearing mildly disturbed. this is simply out of character for all of them, just judging by Twice's example who had similar breakdowns and wasn't plainly ignored by the others until his fit stops. this reaction makes even less sense, when you take into account the current state of the League. Twice had just been murdered by Hawks, the double agent who had infiltrated the League via Dabi, and Mister Compress had just sacrificed himself to give the League a chance for escape, and was sent to Tartarus immediately after his condition was no longer life threatening. Kurogiri is also being held captive by the heroes. there are only four of them left, with two dead and two captured. and none of them even mention the dead or the captured outside of the context of Kurogiri and his quirk.

this straight out makes no sense if you look back to the Overhaul arc and remember how far Shigaraki and the rest of them were willing to go to avenge Magne's death and Mr Compress' destroyed arm. this was important.

the event had motivated Shigaraki to be a better leader, because he had realized these people depend on him, and he won't let them be hurt under his protection. it had started the seed of self-doubt in Jin which would eventually grow to the desperation that allowed him to overcome the mental block against his quirk in the MVA arc, because he wanted to do everything he possibly could to help the League. it allowed him to make his clones despite the crippling trauma, because he saw Toga's hurt, bleeding body, and he didn't want her to die.

even fucking Giran, a broker whose very profession requires him to care about himself and his own well-being first and foremost, had sacrificed all of his fingers to prevent Redestro from getting his hands on the League. because he wants to protect them, to save them. and then we never actually see his mutilated hands or hear anything from him ever again.

and when Twice actually dies? all we get in response to that are two upset faces from Dabi and Toga's fury. that's it.

i really want to stress how out of character this barely-present reaction is, because Magne's example is right there and when Overhaul had killed her, the League knew each other for no longer than a month. this League has been together for at least half a year, had been through thick and thin together, had spent months on the run, homeless, having no one but each other to rely on, has defeated the Meta Liberation Army, quite literally, with the power of their friendship. they all cared enough about each other and Shigaraki specifically to stay with him during those months they had to fight Gigantomachia with barely any breaks for rest, still homeless, barely scraping by. it was imperative that they all survive through this together, especially for Shigaraki, who had went on this quest of getting stronger at least partly so that he would become a more reliable protector for the League. and when Twice falls victim to the hero who had murdered him in cold blood, because no one except for Dabi was there to save him, Shigaraki doesn't even get to react to Twice's death, and possibly never even learns about the fact.

on topic of Dabi, his reaction being exactly two frames of sad expressions and including the footage of Twice's murder into his broadcast, and ending immediately after that, also makes no sense. Dabi is someone who holds himself accountable and despite his declarations, cares about the League, it's the very reason he was keeping Hawks from the League and sprinted to Twice as soon as he realized Hawks' intentions with him, to protect him. Dabi's unsuccessful attempt to save Twice is another iteration of Overhaul, a combination of Shigaraki and Twice's roles in the tragedy. but unlike Shigaraki, who had steeled himself into taking care of his subordinates and becoming a responsible and strong leader, or Twice who had never forgotten about his role in the incident, Dabi just somehow forgets about the entire thing as soon as the first war is over. Toga is the one whom the narrative allows to actively react to Twice's death and express her grief. it makes sense that her reaction would be the strongest, as she was the closest with Twice, but why are two LOV members no longer allowed to care about the same incident at the same time? why aren't they allowed to protect each other anymore, when Giran, who is not even in the League, had made that sacrifice for them?

These are pretty small things, but it's these instances of Toga and Dabi preventing Machia from being injected with the sedative, protecting the League that are sorely missing in the second war.

and the biggest act of devotion and protection to the League, which was the last time we saw anything like this for them, Mister Compress' last moments with the League.

Mutilating his own body just to buy them five seconds to possibly escape. Because he loved the League, because he wanted all of them to be happy and achieve their dreams, to be free, and to live.

and in return for the favour, not only do they not come back for him like they did for Kurogiri (because his quirk is important for the plot, while Compress' isn't), but none of them mention Compress ever again. same with Twice (with the exception of Toga), same with Magne. from this point onwards, none of them are allowed by the plot to even care about the League of Villains. the interpersonal relationships between two individuals still shine through, occasionally, like Spinner's devotion to Shigaraki (and him alone), Dabi and Toga's pyromaniac trauma lane visit to her house and him giving her Twice's blood, Kurogiri reaching out to Shigaraki in the very end. but what about the League? ahd what about the dead members of the League, or Mister Compress?

somehow, at the point of the final war it boils down to the generalized conflict of heroes vs villains and the morality gymnastics involved in the concept. on its own, this would have been an okay development, if the examples the story was using to prove its point weren't people who had become very close friends and who had lost four people to this war against the heroes.

if the individual conflicts, like Toga's desperation to be acknowledged as human being deserving of affection, Dabi's familial abuse trauma and Shigaraki's lifelong manipulation by All for One not giving him any chance to be saved at all, were the finishing line of the villains' story development, why join them within the League at all? LOV is a separate concept functioning as a collective uniting all these villains, giving them a place to belong and people who give a fuck whether they live or die. except not anymore, because for some reason after the first war this concept is scratched completely.

so why not make them mere acquaintances who sometimes collaborate to bother the heroes together, if the bond between them got in the way of the story and wasn't the point of the story? why prove the depth of their bond with the Overhaul and My Villain Academia arcs? why make Shigaraki develop relationships and a sense of responsibility for these people at all, if in the very end his desire to save these people is denied by the author himself?

the previous arcs have spent a great deal of effort establishing that the villains are human too. they have human feelings, human desires and human relationships. so why is it that in the final arc their ability to experience human emotions towards each other is turned on and off manually by the author? at the very end even the author stops pretending like anything happening to the villains is evaluated on the scale of human experiences (unlike the heroes, whose injuries and deaths are talked about and mourned in great detail) and Kurogiri and Shigaraki are wiped out like plot inconveniences rather than important and well written characters.

honestly? it's ironically meta that the story ended up proving the very point it has spent 400 chapters arguing against.