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derinwrites · 5 months ago

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Do you have any advice for writing in a web serial format?

Let’s look at this in two sections – the business part, and the actual writing part.

The Business Part

1. Consistency. Consistency in updates. Have a schedule and STICK TO IT.

If your schedule is too hectic and starts affecting your health or otherwise adversely affecting your life, change the schedule; update less often. Don’t update in spurts and then randomly stop. The audience will far more easily tolerate a slow schedule than an inconsistent one; an inconsistent one will lose many readers. You’re not Andrew Hussie and you can’t get away with that bullshit.

There may be times where you need to take a hiatus due to some emergency, life event, or health condition. This is fine – your wellbeing is more important than your story. But you need to be up-front with your audience about this; tell them you’re taking a hiatus and tell them exactly how long it’s going to be. If you can, you should tell them in advance (this isn’t possible for things like a car accident, but is very possible if you’re planning to, say, move house in a month). If you’re taking too many hiatuses, then it’s better to slow down your schedule and update less often. Audiences prefer fast and consistent, but if they have to choose, slow is better than inconsistent.

The #1 helper to consistency is having a big buffer – that is, have several weeks’ worth of unpublished chapters. The length of your buffer is personal taste, but I like to keep mine as long as possible so that if there’s some problem that stops me from writing for several weeks, it won’t upset the schedule. It keeps my stress down to know that I have that leeway. Other writers prefer to only write a week or two ahead, though, so different things work for different people.

2. Decide on your monetisation system early and prioritise it.

The most popular and most effective method for monetising a web serial seems to be the patronage method, which is the one I use. You set up a patreon, ko-fi, or whatever sponsorship system you prefer, and offer rewards to those who support you. Having their names in a credit list and getting access to advance chapters are very common rewards. Some people also lock access to their discord behind a paywall, or offer extra stories or let supporters name story characters.

This model is not the only way to make money from web serials. Some people make money via advertising, or selling merchandise, or use the web serial itself to advertise stories that they sell. You can of course use several revenue streams – you can have both a patreon/ko-fi and run ads on your website (I don’t because I hate ads, but you can), or start selling merch related to your story once there’s a demand for it. Many web serial authors (including myself) sell their completed works as books. But the important thing here is that one of these systems will be your main system, and you need to know what it is and behave accordingly. If you run ads AND have a patreon, are you more focused on ad revenue or patreon revenue? You’re going to have to put your time and attention into one of them over the other. You’re going to have to make decisions that will help one and harm the other. So know in advance which one is most important to you.

You don’t have to monetise your story at all, of course. Plenty of people write fiction on the internet for free every day with no thought to making an income at all. But if you’re serious about this, I would recommend monetising it, because that makes a better and more consistent product. The reason I’m still able to keep writing these year after year is that my supporters pay my mortgage; without Patreon and ko-fi, I’d have to get a different job, and wouldn’t have time or energy to write consistently. Also, the reason I can write and update even when I don’t feel like it, and the reason I always push to make my stories as good as possible even when I’m not interested, is because I owe it to my supporters who are paying me real actual money to read my work. If I didn’t owe my readers anything, none of these stories would ever get finished, because writing is only fun about half of the time.

3. Don’t expect to be able to turn this into a career.

This advice sounds silly coming from me, who has through sheer luck, as well as the generosity and passion of my readers, somehow turned this into a career. But I need to emphasise that that luck is not typical. Most web serial writers will not be able to support themselves solely with their writing. It can make a good side hustle, but if your primary goal is “low barrier to entry work-from-home career where I don’t have to answer to a boss and can support myself comfortably,” then web serial writing is usually all of those things except the last one. There’s no harm in trying to turn this into a career – I did it, as have many other web serial authors – but don’t expect that result, is all I’m saying.

Still, if you can do it, it does have a lot of advantages.

4. Don’t expect to make money fast.

I remember when I finally started making an entire $100/month on Patreon. It was a fantastic day.

It was when I’d been writing web serials for four years.

5. Your most valuable resource is your readership.

Your readership will grow and gather momentum over time. The best business decisions you can make are those that grow your readership and allow your readers to participate in community, even if you have to give up opportunities to make money to do it.

A good example of this is discord. Some people have private discords that only their patrons can access; while this is a useful anti-spam and anti-harassment tool, I don’t recommend doing this if you don’t have a major spam or harassment problem. Some people will pay for discord access, yes, so you might get a handful of extra dollars per month that way – however, you will also get a far less active discord. When it comes to readers, population density is critically important; the more activity, the more people talking about your work together (or talking about anything and bonding with each other), the better. Plenty of people have joined my free discord just because it was there and only read my stories after seeing people talk about them there. Then they go and get their friends to read the stories. Enthusiastic readers are inherently valuable, and the best thing you can do is give them the resources they need to talk to each other and share their interest.

This principle applies to a lot of things. I have a lot of free stories on my website that aren’t the usual web serials, and more than once I’ve considered whether they should be paywalled. The answer I always land on is ‘no��; I couldn’t tell you how many readers have been roped into my web serials because they liked Copy <|> Paste, or The Void Princess, or Drops of Blood. These readers may or may not then become monetary supporters, but even the ones who don’t will increase activity and discussion about the stories, have fun and tell jokes in the discord, and may even produce fanart. A thriving community is always going to be more valuable to you than a few extra dollars; make sure to support them accordingly.

Your readership will start very small. In terms of marketing, this is your hardest time. A big readership does the majority of the marketing for you, but when you’re on your own, it takes a lot to convince anyone to give your stories a shot. It helps if you have an existing readership to leverage, which is what I did – I’d been writing Animorphs fanfiction on AO3 for years, and many of my first readers followed me over from there. If you have such a community that already has faith in your writing, leverage it. If you don’t, you can gain one my writing in a place where people go to read stories similar to your work, such as an appropriate subreddit, or a web serial site like Royal Road or Scribblehub. You are looking to gain as high a number of enthusiastic, engaged readers as possible.

And now, the fun part – the actual craft!

The Writing Part

1. Always remember that you are writing for two audiences

A web serial author has to keep two audiences in mind; the serial readers, and the bingers. You are writing a story that needs to be fun and engaging when read very slowly, at the pace of whatever your update schedule is, but that also needs to be interesting when read all at once.

This is not an easy task.

It’s something I fucked up pretty significantly with Curse Words, which was my first attempt at this. Curse Words has a lot of complicated political stuff happening throughout pretty much the whole story, as well as a complex save-the-world plot that’s reliant on a lot of secrets, mysteries and extremely speculative information. With so many wheels spinning, I decided to make the protagonist not particularly smart and move him very slowly through the plot to make sure that the reader would be able to keep up.

This was a mistake.

‘Pretty slow and simple’ at a novel reader’s pace is torturous at a web serial pace. Readers got a full week to discuss the mysteries and implications of each chapter with each other, doing the detective work of ten chapters between each one. The frustration with Kayden’s slow pace was clear, and he came across as an outright idiot rather than an average teen. Personally, I think this lesson was one of the biggest reasons for the difference in quality between Curse Words and Time to Orbit. Don’t slow down for your audience; they’re already slowed down by your update schedule.

At the same time, though, you don’t want to move so fast that you lose the bingers. You can’t assume that your readers will have time between chapters, or that they will discuss each chapter with other readers, or that they will go back over previous chapters looking for clues. Interested people reading update by update will do this, but bingers absolutely will not. So you still need to make sure that everything is comprehensible on a binge read with no backchecking or outside investigation.

My advice on this matter is to move as fast as possible, but take care to make sure that readers are reminded of everything important a few chapters before it comes into play. That way, both audiences can keep up. If you have to make a decision, it’s best to favour your update readers; they’re your most active community. They’re doing the up-to-date discussion, and probably doing the most word-of-mouth and fanart, although binge readers will do that too (I have plenty of dedicated readers who wait five or six weeks to binge a bunch of chapters on purpose, just because that’s their preferred reading style, and they’re still very engaged). But if you plan to publish your story later as a complete work, you also need to keep in mind how it’s going to read as a binge – and also, new readers will binge the earlier chapters of your story to catch up to the current one, so make sure it’s a good experience for them or they won’t get a chance to become update readers.

Two audiences. Mind your pacing and information reveals accordingly.

2. Chapter length

The general rule of web serials is that the more often you update, the shorter your chapters should be. The generally agreed ‘sweet spot’ is 1-1.5k words, 3 times a week, but this depends heavily on individual style. I update once or twice a week (depending on what stories I’ve got going) and try to keep my chapters between 2 and 2.5k words. If you update once a month, your sweet spot is probably about 10k words.

Don’t hold religiously to what other people tell you the ideal word count is – this will vary drastically with genre and personal style – but it’s best to try to stay fairly consistent. It’s not always possible to stay exactly on target because the best break points between chapters will vary (I’ve got 1.8k chapters and 3.5k chapters), but readers like to be able to predict about how long an update will be and they like it to not vary too wildly too often. As with choosing your update schedule, choosing your chapter length will depend on what suits your personal schedule, and what suits the story you’re writing.

“The shorter the chapter, the more frequent the updates” is a good rule for attracting the widest audience. Short, infrequent chapters will have a lot of readers losing interest between updates; long, frequent ones will have a lot of readers feeling overwhelmed. But the most important thing is finding something that you can consistently output year after year (remember, it took me 4 years to make $100/month; this is a long game).

3. It’s a TV show, not a movie

This advice is less useful in our age of Marvel movie franchises and made-to-binge Netflix series, so pretend I’m talking to you in the year 2010 or earlier. If a novel is a movie, a web serial is a TV show. What I mean by that is that a novel is shaped primarily as a complete experience, whereas a web serial is shaped as a chapter-by-chapter experience.

It’s best, in both cases, to have a well structures and paced story that is made of well structured and paced chapters. But sometimes you have to choose between the structure or a chapter and the structure of the story as a whole; making one better will cheapen the other. When you’re writing a novel, you should choose the structure of the whole, but when you’re writing a web serial, you should choose the structure of the chapter. Web serial readers will prefer a chained series of excellent chapters, over a beautiful story of chapters with mediocre individual structure.

In fact, whether you want a structure to the overall story at all is personal taste. My stories have strong overall structure and move towards a planned conclusion because that’s how I prefer to write (and it also makes the story bingeable, since it’s basically a novel being released really slowly), but plenty of web serials out there have no real planned ending and will wander about for years and years in no obviously consistent direction, occasionally throwing in a big twist or major change to freshen things up. These would make absolutely horrible novels, but make very popular web serials. Whether you write like me or like them, the rule is the same – the experience of each individual chapter takes priority.

Come to think of it, this might be why people call my stories “ADHD crack”…

4. Okay, so how do I structure a good chapter?

I generally try to do three things in every chapter.

- Hit the ground running

- Give them something new

- End on an open question

Hit the ground running – Unless it’s the very first chapter of the story, you don’t have to be coy getting into the action. Open the chapter as if it’s the middle of the chapter; start at full momentum. Catch the high point of the last chapter before it falls. It your last chapter ended with “We checked the fingerprints on the candlestick. It’s Colonel Mustard.” then you can start this one with “But he was in the library at the time!”, you don’t need to recap or slow down or anything.

Give them something new – Every chapter should give the reader at least one thing to talk and think about. A new choice, some new information, a shift in perspective, whatever. People are reading these updates one at a time so it is vital that they feel like they got something out of the experience. A chapter in which nothing is learned will make readers feel like their time was wasted, and they have all the time until next update to reflect on that.

This is also true of a novel, but it’s much more critical in a web serial. A novel with nothing chapters in it is just frustratingly slow-paced; a web serial with nothing chapters in it leaves the reader feeling cheated for long stretches of time.

The thing to talk about doesn’t necessarily have to be a big plot reveal or major advancement. An incredibly cute scene, or sad scene, or funny scene will work just as well. But you have to give them SOMETHING. If you’re giving them nothing, consider cutting the chapter entirely and integrating any important foreshadowing or whatever into the next chapter.

One major hurdle of mine with this rule is recap chapters. If you’re writing a very complex plot over a long period of time, you need ways to occasionally take stock and make sure everyone is on the same page and nobody’s forgotten or misinterpreted anything important. This information can be recapped or conveyed in the middle of an action sequence or something, but I personally find that putting other stuff in the scene makes it too distracting and therefore less effective. I like to literally just sit the heroes down in a room and have them go, “okay, we’re spinning a lot of threads at once right now; what do we know, what are we trying to figure out, and what are our next steps?” This is the literary equivalent of the save point or room full of health packs right before a boss battle. Game designers don’t put that room there to be nice; they do it so that they know exactly how much health you’re going to have going into the battle, and can structure it accordingly.

You can make these chapters entertaining with character banter, but you can’t really introduce new threads to talk about, except possibly as a twist right at the end. Introducing new information mid-recap distracts from the recap and makes it pointless. You might have something similar in your stories, chapters that are essential but don’t give the reader anything new to work with.

My advice for these is to just bite the bullet on this one. Release the chapter with nothing new to talk about. You can get away with doing this occasionally, if the chapter has a clear purpose (I get a lot of readers tell me that they appreciate my recap chapters). Readers who get nothing out of the chapter will shrug and talk about older stuff instead, so long as you only do this occasionally. But a chapter with no new information has a cost in opportunity and in reader patience, so only pay it if the chapter’s worth it.

End on an open question– End the chapter with a reason for the reader to come back. You want them to think about the story afterward and be eager to read the next chapter when it comes out. Adhering to this principle is probably why I have such a reputation for cliffhangers, although truth be told I don’t use nearly as many actual cliffhangers as people say, I just try to end by opening a question. By that I mean, the audience should always end a chapter asking a question, which can be something that will span dozens of chapters (“How can Colonel Mustard’s fignerprints be on the candlestick? Is he being framed? Does this mean that the candlestick was in the library and isn’t even the murder weapon?”) or span a single paragraph (“How will the narrator react to learning that Colonel Mustard lied about never touchign the candlestick?”) This could be the emotional height of a scene, or the point at which new information recontextualises everything. It could be the moment where the stakes are raised or an important assumption turns out to be false. Anything that makes the audience eager to learn what happens next will do.

There should always be at least one open question in your story, more if it’s thematically appropriate. You know how mmorpgs and crafting games and suchlike keep you playing for hours and hours by making sure you’re always near the end of an activity – keep playing til you reach the next level, oh but now we’re nearly at the end of this quest so we should complete that, oh but now we’re just 20 gold short of being able to buy that cool new armour so we should just… same trick. Readers should always have at least one ‘quest’, an open question that they’re following, and should always be close to an answer.

You don’t have to dramatically introduce an entirely new question each time; you can end a chapter by reminding the reader of an existing open question. I tend to be a fan of the Big Dramatic Reveal On The Last Line method (cliffhanger reputation), but you don’t have to do it that way. Indeed, it’s a good idea not to do it that way every single time, lest you get stuck in a rut; every chapter ending doesn’t have to be incredibly tense and snappy. Somebody mentioning that they wish they knew how they could get enough food to make it through the winter before a full paragraph of cuddling and falling asleep in their mother’s arms works just as well.

5. It will help if your story is good, but it isn’t required.

You don’t have to be very good at writing to do this.

It helps to be good at writing, of course, and I assume that since you’re asking me for tips, you’re the sort of person who wants to be as good at writing as you can. But there is some true hack garbage out there doing absolute numbers in the web serial circuit. I try not to harp on about this too much because Curse Words fans get really upset at me when I do, but I think most of us can agree that Curse Words kind of sucks. And that just sucks in an ‘author is still learning how to do this’ kind of way; there’s much worse writing, real bullshit Ready Player One-level writing, trucking along out there brilliantly.

The point I’m trying to make here is that this isn’t an industry where there’s any value in hesitating and wringing your hands and asking yourself if you’re a good enough writer to do it yet. You are. You can just start writing a web serial right now and so long as you consistently update, you’re probably already above average for the market. And your first one probably will suck (mine did), but it’ll teach you how to make a better one. I think that Time to Orbit: Unknown is passably okay, and it absolutely would not be passably okay if I hadn’t written Curse Words first. Just go for it. Try to write a quality story if you can, but if you can’t, it’s honestly not that big of a deal. What matters, truly matters, is that you are committed to improving your craft. And that means actually practicing your craft. Which means writing some chapters and setting up a release schedule.

Good luck.

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suevi-if · 11 days ago

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Suevi is an interactive fiction WIP - Release date: Prologue - May 2025

This story is about finding love and surviving in Ancient Rome... as a Germanic slave.

[genres: romance, historical fiction, low fantasy, dark]

This book is for mature audience only (18+). It's currently still in early development and everything released is subject to possible change. The book will contain mature themes like slavery, abuse of any kind, sexual content (mostly optional), death of people and animals (the latter for food and sacrificial purposes), diseases, suicidal ideations, homophobia, transphobia, body dysmorphia, possible self mutilation, swearing, attempted non consensual intercourse (this is not a definitive list of triggers!).

There will be trigger warnings at the beginning of each chapter.

This is a work of fiction. Wherever possible and plausible, I incorporate information that is available about how Germanic tribes lived, how Germanic slaves were treated, what life in a Roman city looked like etc.

However, especially about the Germanic tribes, and about the timeframe I chose, there is only very little information. They did have runes but only used them for ritualistic purposes, never to write anything down; they had no written languages. Because of that, actual legitimate information is extremely scarce, and the information that we have is mostly written from an "enemy" point of view - the Romans.

I might somewhat substitute with things we know about the vikings, which technically also were Germanic tribes, but they lived quite some hundred years after the timespan I aim for the main story of this IF to be set in (which is essentially shortly after/around 31 CE).

Other choices and possible changes of actual facts/information about the historical times and people are made for flavour and for the readers' comfort.

After a skirmish close to the Roman border, you are captured and transported to a city. Your capturer forces you into slavery and sells you off to a patrician family - wealthy Romans, in social and political standings only underneath the Emperor.

Desperately you try to adapt to these new circumstances - you don't even speak their language, know nothing about their culture... It's a whole different world for you. At first, you struggle to even communicate with the people that call themselves your "familia". Will you manage to live amongst them or will you refuse to obey to rules and orders you are unfamiliar with?

What will your fate be? Will you stay with your new family, will you try to escape to your old family, or will you look for a better future elsewhere?

Will you try to abandon old beliefs and adapt to new ones? Or is the hold of the old Gods too strong on you to let go?

RELEASE DATE: Prologue - May 2025

Customize your own Suevi - choose your sex, gender, sexuality, looks, the God you mainly pray to and your former occupation (depending on the tribe you are from).

Pick one of five love interests:

Ing-, the quiet and angry Cherusci servant (m/f) [Tropes: Friends (to Enemies) to Lovers // Clueless Love // Secret Trope]

Aquila, the cheerful, friendly Roman artist (m/f/nb) [Trope: Sex first, feelings later - Fast burn fling, Slow burn romance]

D-, the Gaul weaver with a tragic backstory (m/f) [Tropes: Rescue Romance // (Not so) Secret Admirer]

Nefer-, the chronically tired, sarcastic Nubian merchant (m/f) [Trope: Secret identity/Dark secret]

Xen-, the stoic and wise Greek teacher (m/f) [Tropes: Single Parent // Child as matchmaker // Age gap]

Find love, have a good time with no strings attached (flings!) or just do your own thing (and hopefully escape slavery).

Physical description RO's

Immersive playlist (Youtube Music)

More information will be shared soon.

Also, this is my first IF and I haven't written anything major really for the past 10 years - so I might be somewhat rusty in some parts and completely new to other parts (namely, ChoiceScript). If you have tips, tricks, resources to learn/get better and constructive criticism, or you found any bugs or mistakes once the demo is out, I'd love to hear from you!

Thank you so much for reading, I hope you'll enjoy my story!

#interactive fiction #if wip #dark romance #historical romance #choicescript #choice games #writing #hosted games #choice of games #if game #interactive game #suevi-if

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antianakin · 8 days ago

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I feel like I need to make it clear that when I talk about how Mon Mothma isn't fully committed to the Rebellion yet, it's because that is quite literally a massive part of her whole character arc. It's not a condemnation of her character or an attempt to belittle the things she HAS chosen to do for the rebellion and what it has cost her.

Mon Mothma says in Rebels that she finally hit a point of no return in recognizing that politics IS NOT GOING TO WORK and so she chooses to leave it all behind in order to be full in on the rebellion and do it day in and day out. At this point in Andor, she hasn't yet hit that point of no return. Some part of her still believes she can do something helpful through politics, even though we as the audience know that she CAN'T. There is no effort she can make politically that will actually change anything in the Empire.

And it's OKAY to recognize that Mon Mothma still has places to go as a character and room to grow as a rebel. She's not all the way there yet. Much like Cassian was against the Empire and had no issues stealing from them last season but wasn't fully committed to the cause until the end. He had to hit a point of no return before he could let go of the idea that he could still have a normal life of some kind before he could truly become the rebel we all know he needs to be.

Mon Mothma was ready to sell her daughter, yes, but she also tries to convince Leida OUT OF IT in the last episode which would've had pretty major consequences not just for her but for Luthen and Kleya and the rebellion. She is still prioritizing her family over the rebellion. And that's not a bad thing, necessarily! She's a good mother and that's why she says what she does, there's absolutely nothing wrong with that! But I do think it is a signal that Mon Mothma ISN'T fully committed to the rebellion yet because there were still things that she would prioritize over it if push came to shove. There were lines she still wasn't willing to cross and things she wasn't yet willing to sacrifice in the name of the cause.

Similarly, her conversation with Luthen where they're talking about Tay and he says he needs to protect her and Mon responds with "I don't know what you're talking about," is another signal that Mon was just not really ready to make those sacrifices. She doesn't want to acknowledge it, she can't make those choices on her own. She can still pretend she has no idea what Luthen is saying to her or what he's going to do to protect her as an asset. She can go off and get drunk and try to forget it all so she can get up the next day and just be Mon Mothma the politician. Luthen can't do that. He made an entire speech last season about why he can't do that anymore. Cassian can't do it, either, because he had to make this same choice a year ago.

And I think it's honestly a really cool narrative arc for Mon Mothma. I think it works really well as a parallel for Cassian and as part of the theme of the passing of the baton/torch that is so integral to the story of Rogue One and Andor. Mon ISN'T fully committed to the rebellion yet, she ISN'T ready to be a rebel entirely yet, she ISN'T the person who can lead the rebellion yet. She's getting there, she's reaching her point of no return, but she's NOT THERE YET. As much as she's doing, there's pieces of herself she's holding back, pieces of herself and her life that she's not willing to let go of yet. And we're watching her give them up or lose them until she finally recognizes the same thing Cassian did last season. She either dies, or commits herself fully to this cause she's been one foot in and one foot out of for years. That's it, that's the choice they all ultimately end up having to face, and it's a choice you only get to through a lot of hardship and pain and loss.

#star wars #star wars andor #andor #sw andor #andor spoilers #sw andor spoilers #mon mothma #i think people are getting VERY defensive of mon mothma #and on the one hand i get it #but on the other hand i think it's getting to a point where her flaws are being erased in an effort to defend her #i think that her narrative where she is being forced to grow and face the consequences of a choice she's already made is getting ignored #and it's too bad because it's a good narrative!#let the woman have flaws! let her grow! let her not be the best rebel yet! let her be a little selfish still!#i promise it doesn't take away from everything she has done to acknowledge she can still do more

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showtoonzfan · 1 year ago

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Ganna rant about Episode 4 of Hazbin again. For starters it has the same issue that Seeing Stars did for Helluva boss, that being Loona giving Octavia advice in comparison to Husk giving Angel advice. While the characters situations are different, both Loona and Husk were the wrong characters to pick to give advice, or simply just comfort the other character. I’ve already seen some people say that Charlie or Vaggie should have been the one to cheer Angel up, and that would have made more sense. They’ve known him longer and it’s in character for them to do that. For it to be Husk, not only does it feel forced as an excuse to just hook Angel up with a boyfriend and get the shipping fuel going, but it doesn’t make sense narratively.

In Loona’s case, her situation was flawed because she just MET Octavia, didn’t know a thing about her struggles and spouts to her about how she should be thankful just because her dad is “trying”, and the show tries comparing both girl’s situations when they’re not the same. This is practically the same situation with Angel and Husk. While Husk is aware of Angel, he barley knows him. He hasn’t been at the hotel that long considering the pilot took place only a week ago. On screen, all that Husk knew about Angel was that he was a porn star who constantly flirts with everyone, him especially, and we as the audience only see that and only that when the two interact. However episode 4 claims that Husk can see right through him and know that this is all part of his persona that he displays. If we had more time with these two characters outside of flirty banter scenes, this would make more sense, but instead it’s all tell and no show, being rushed with the little time we’re given. Husk even says that the hotel residents go to him to rant their sorrows while they’re drunk and even THAT happens off screen and that’s the problem, the audience has no reason to believe that Husk knows Angel deep down or even cares enough to want to help him, in our eyes, all Angel’s been doing is sexually harassing him.

There’s no reason why these two need to have an emotional scene together, it’s unearned and unwarranted because we haven’t had enough time with these characters, just like Loona and Octavia, there’s just no purpose or buildup. I also resort back to what I’ve said before: Husk selling his soul to Alastor is not the same as Angel selling his soul to Valentino. The show tries to compare Angel and Husk’s situations and it’s just not comparable because Alastor isn’t a rapist who’s trapping Husk to sell his body and be used like a rag doll constantly. Had it been something like ��you’re a drug abuser and I’m an alcoholic”- THEN that would have worked, but that’s not what we get, and this leads me to talking about why “Loser Baby” isn’t good.

Some people have already misinterpreted my opinion, so here’s a few things. Is the song in character for Husk? Yes. Is the song about Husk telling Angel not to act and just embrace himself? Yes. On its own, the song is fine outside of some distasteful lines. The CONTEXT, execution, and placement of the song is the issue. Episode 4’s whole purpose is to see just how much Angel suffers. He’s forced to work like a dog at the studio day in and day out, and he gets abused and SA’d by his boss and other demons constantly. He doesn’t have a say in anything and can never say no because he’s under contract. He can’t Fizz his way out of this one and just go “I quit”, he’s literally forced to work in the porn industry wether he likes it or not, and we see all of that on screen. We also explore just how much this affects him. They reveal some pretty dark stuff here, how Angel doesn’t even want his position as a famous porn star and is so desperate to be numb from the pain and suffering he endorses that he’ll get high constantly and let people drug him for nefarious reasons, it’s his escape. They dump ALL of that info onto us, only for this bullshit to come up:

So the writers slut shame him, call him a freak and an addict to laugh at because “haha he’s addicted to drugs and a slut”, even though we JUST got done with a scene that confirms HE DOES ALL OF THIS AS A TRUAMA RESPONSE. He said himself he does the drugs and is addicted to numb the pain, and his own flirting (while problematic) is shown to be an act of him hyper sexualizing himself due to what he goes through. It’s not excusable but it’s still a fact, and we’re supposed to LAUGH at him??? That’s what’s wrong with his character and what continues to be wrong, because Viv sees him as the butt of the joke. Every line of dialogue he has is always about sex and how we should laugh because he’s a slut, an it comes off as so distasteful and insensitive to not only people who have been abused/SA’d, but porn actors in general. We’re supposed to laugh when he talks about cock and sex, but the reason he’s doing it is so dark that we shouldn’t be laughing about it at all cause he’s a VICTIM, yet Viv thinks it’s funny. It’s so disgusting and makes my stomach twist. Angel is trapped being in a position he doesn’t even want to be in, yet his entire character revolves around comedic sex jokes, and once you figure out the reason behind said sex jokes, it feels so wrong.

And this is why Loser Baby doesn’t work. Aside from everything else I’ve already said, It doesn’t line up with what Angel is going through, it doesn’t line up with the rest of the episode. If you wanted Angel to have this arc about realizing he doesn’t need to stick to his persona, fine, but you should have done it in a different episode. This is why Husk comes off as telling him to just suck it up and stop whining rather than what he’s actually trying to say. It looks bad with how they executed it, it just looks like he’s telling an SA victim to get over it and stop whining and what’s worse is they compare their situations when it’s not the same. You literally have a scene of Angel telling Husk he lets people drug him, and not even a minute later Husk is calling him a loser. That’s the issue. The show doesn’t know how to read the room, build character relationships slower, is just so incredibly tone deaf and is hypocritical. We’re supposed to feel bad for Angel cause he’s sexualized to the maxes and is having trauma responses of that, but then we’re also supposed to laugh at him and his sex jokes while also finding him hot. Pick a fucking side Vivienne, the show wants to have its cake and eat it too and look where that’s gotten us. The writing is a fucking atrocious mess and yet it had so much potential if Viv actually cared enough to take Angel seriously, instead of just desperately wanting to give him a boyfriend, and a rushed arc where he magically feels better in the end.

#vivziepop critical #spindlehorse critical #hazbin hotel critical #anti vivziepop #Angel dust #Hazbin hotel #Vivziepop #hazbin criticism #hazbin husk

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alatismeni-theitsa · 8 months ago

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In "KAOS" nothing is anything, and everything is wrong

Two disclaimers: I am no stranger to modern art, and I have no issue with queerness in shows, or in my own mythology (I'm Greek). I am also aware that KAOS is a comedy. It's in the gutter of British comedy, but still part of the genre. At least I laughed every time they said "Oh God!". I don't believe this is the same person who wrote the great and amusing "End of the F**king World"! The premise of "The gods in our modern world" appeals to me a lot, so that wasn't my problem either. My general issue with KAOS is its horrible delivery, bad writing, and piss-poor Greek representation.

This is gonna be long and full of stupid gifs, so sit comfortably, grab a coffee or some popcorn and... pame!

The "ILoveGreekMythology" Kid

Art without context is just a pretty thing to look at. Most of the time, this context can be found within the art piece itself, as the artist has taken care to weave it in. KAOS refuses to connect itself to any context besides the names and a few vague powers. It aims to exist outside of those "boring old stories of the Greek myth" and be entirely "fresh and modern". Something impossible when the entire show and the meanings are based on ancient recorded material. In other words, KAOS is so meta that it ends up being nothing. KAOS cannot stand on its own because you need more than the viewers being familiar with the Greek myth basics to pull such a show off.

KAOS tells us "See? I know all the names of the gods, and what they did, and I know all the locations, so I am qualified to tackle this". More or less like any Western kid who takes all their knowledge from PJO and Marvel and proceeds to unironically hate ancient deities and make a girlboss out of Medusa.

Here's a Greek word for you guys, ημιμάθεια, meaning "half-knowledge". Α Greek saying very well declares "Half-knowledge is worse than no knowledge". The confidence of thinking you know enough often leads you to grave mistakes whereas the humility of not knowing prevents you from touching shit that you shouldn't. When you have no idea what the original myth is trying to say and spit on its meaning, knowing a few names and locations is just smoke and mirrors. I don't believe the audience fell for that.

And don't get me started on the "subversions". A good subversion is intriguing and thought-provoking. In KAOS, every twist was hollow - Greek myth related or otherwise.

"What if Euridice doesn't love Orpheus?" I don't know, babe. What if??? What was the point of that? What did you show us? That women's stories are dominated by men and men don't listen to women, perhaps? And you chose to twist... the love story of Orpheus and Euridice to show this?? One of the best and most tragic love stories Greek mythology has to offer?? You just mocked the myth, you didn't make anything profound out of it.

The Greek Stuff (Nothing salvageable)

I was surprised to see they had a Consulting Producer (Georgia Christou) and an Assistant Script Editor (Isabella Yianni) who happen to be Greek. And I stress that because those people probably weren't hired or utilized for being Greek. We are not sure they were involved in cultural decisions because we have no evidence and because shows with no Greek elements can have more Greeks than that on their staff.

Okay, perhaps they took 5 seconds to ask Isabella about a greeting - which they proceeded to say in a wrong intonation 🙄🤌It's where Poseidon says "ya sás" in the Fates, by the way. How he said it sounds more like "for you (pl.)" than "health to you (pl.)".

Surprise! The only Greek actor present (Peter Polycarpou) has less than 5 minutes of screen time and plays the caricature of an immigrant with a thick (and inaccurate Greek) accent. He has a canteen, selling falafel which is not Greek, and Dionysus buys from him an unidentified tortilla wrap (which... is also not Greek, if you haven't caught up).

For the show they brought in actors of Maori, Nigerian and Sierra Leonean, Pakistani, Black American, Latvian-Jewish, Iranian, Egyptian, Indo-Fijian and Malay descent and you tell me it was impossible for them to seek and find an English-speaking, skilled actor of Greek descent in a show regarding Greek heritage. Sometimes I wonder, do y'all hate us so much?

They considered Greeks only to give us a simple (and wrong) greeting and a stereotype. Crumbs, we are supposed to be happy with. By the way, there are over 70.000 Greek immigrants just in the UK, usually in the urban centers, many of them students or fairly young employees in the corporate workforce. Not the largest minority but not hard to spot either.

Another plague of Anglophone shows: Almost everyone's Greek name is shortened. Yes, we know their full names but we are told that we will use the short ones. Greeks and their "long and difficult" names am I right fellas? Because saying "Ariadne" apparently requires 5 years of Greek language training, and no English word ever has more than two syllables.

Coincidentally, short names are cool in Anglophone imaginary universes and the "long" names are not. it's so strange Anglophones never make universes where it's cool for Greek names to be spoken in full hmmm... They don't even want to practice saying a whole Greek name for just 2 minutes in preparation for a show full of Greek names. And don't give me that "Greek is hard" shit when we only talk about a few syllables. If Greek kids can learn English since first grade and people here can sing English songs and spell English names, you have no excuse.

They also said the name "Fotis" means light, which is close enough but... ugh.. It's like saying Sebastian means "respect". I am not sure if they asked anyone or what their research was here. If I had the writers in front of me, I'd be like:

(This character from an all-time favorite Greek show is called Fotis)

They also made the flag of "Krete" an alteration of the Greek flag and the local Cretan flag. Which is the stupidest move, because they had to remove the religious symbol of the cross to make the flag fit the universe. These are flags created based on 1) Christianity 2) the Greek Revolution of 1821.

National Greek flag to the left, local Cretan flag to the right:

Flag of the KAOS' "Krete":

The only time they seriously took into account anything Greek, was the time when they decided to remove the religious symbol of our ethnoreligion AND (from what I could observe) keep the nine stripes?? The nine stripes of our national flag represent the syllables in "Freedom or Death". The colors are from the white foustanela of the mainland attire and the dark blue vraka of the island attire, the clothing of the Revolution fighters. (That's more of a meta explanation but the characteristics of the flag were decided during and nearly after the Revolution.)

I think I don't have to explain it more but it's not a homage to put the nine stripes in an ancient era where they have no meaning, and to replace a cross??? Let's... not replace religious symbols on national flags, okay? Thank you.

Another cultural element they changed was making everyone have a dedicated coin to pay Charon. Orpheus has Euridice's coin, "her coin", and he's meant to put it on her before she got buried. In Greek culture, any coin would do. Sorry that our culture restricts your script, dear writers. I guess you had to bend this too, in order to create a cohesive plot with a semblance of a twist.

Finally, the many "Kerberus" dogs were cute and I can understand the creative decision behind that. However, in a show full of inaccuracies, this made me roll my eyes a little. I think the showrunners know that Kerveros is not a breed of dog, and there can only be one of him because he doesn't have any other "Kerveros" to breed with. On the other hand, as demonstrated from art/writing on the internet, quite a lot of Westerners are not exactly aware of how our monsters work, so forgive my uncertainty 😅

Nothing is Anything

Every element KAOS played with ended up meaningless. In the words of a Lifo article:

“Zeus is a paranoid authoritarian dictator in mid-life crisis who fears losing his power and murders his aides to vent. Hera is a promiscuous goddess who repeatedly betrays Zeus and has mutilated mute priestesses for protection. Dionysos is a spoiled and immature zoomer who, apart from pranks, indulges in orgies with all genders. Poseidon a sadistic god of the sea, who tortures the crew on his ship for fun. Prometheus is gay and killed his lover so he could overthrow Zeus. Orpheus is a famous pop singer and Eurydice does not love him. Theseus is black and gay. The Erinyes are tough-as-nails mechs that look like they stepped out of ‘Sons of Anarchy’. The Fates resemble a three-member jury in a talent show. The Trojans are a terrorist group that acts against the gods. Crete is more reminiscent of California than the Mediterranean.”

The "River Styx" is a sea, the "River Lethe" is a lake, the gods are nothing more than spoiled humans, the Moirai are drag queens, the Cave is a club where you have to take a quiz to enter the underworld, and generally everything is modern, flat, mundane and anticlimactic. The producers aimed to achieve a work so meta that a "river" is now a concept, a metaphor, whatever you have in your heart. And those who want to see a river when we speak of a river are probably uncultured swines and don't understand postmodernism. Never mind that rivers are rivers in Greek mythology for a reason. That's not culturally interesting enough to explore compared to the new, cool approach of not assigning meaning to anything. That totally shows love for the original rich and meaningful material...

And the reason behind all this subversion? Probably the shock factor. They brought the characters to a point where they said "We have to save the world from Zeus" - Zeus! The father of gods, heroes and humans! - just because they could. It gives off a certain type of smugness that I personally don't like. I mean, I would like the smugness and cheekiness of KAOS if it wasn't a vapid and practically meaningless show. As nothing symbolizes anything anymore, we are just led from hollow plot point to hollow plot point.

If you cut it out of any cultural influence and see it as a story then it's... okay, I guess. But when you consider that it's meant to derive from certain material and it fails spectacularly, it's not a good story. It forgets its bases and doesn't play with the ancient elements at all. Disney's Hercules did it better, FFS!

Bad Writing (pt.1)

KAOS is not without recognizable themes but their demonstration is so juvenile and heavy-handed that it fails to influence a viewer of average intelligence. For instance, "Riddy" says to her religious mother "You dedicated your whole life to Hera, what about me?" Okay, KAOS, we get it. At the same time, this theme nulls itself because it turns out that Ridy's mother was right to do what she did, as she had a greater goal in mind. (And this, kiddos, is called Bad Writing, because your themes and scenes contradict each other)

The biggest theme I spotted was a criticism of religion and religious people who say "Do as I say, not as I do" and create exceptions for themselves. Only, it's not a criticism of anything real, in this case. It's a fact that some people in the clergy tend to preach peace and love and then they do harm, but we don't know, for example, that The Goddess of Marriage is a cheater and yet she pressures everyone into strict marriages. By focusing their wrath on divine beings who are not known for their hypocrisy, the creators missed the mark.

I can give KAOS props for how it handled Trojans to reflect real issues regarding how immigrants and war refugees are mistreated and blamed. I'd argue it was the only (nearly) well-done theme in the whole show because it had the least on-the-nose delivery and some genuine/serious scenes. But that's it.

More Bad Writing!

Jeff Goldblum's Zeus is shit. He'd crap his pants in an argument with a stern Greek dad/uncle his age. Is this character supposed to be intimidating? (Laughs in Mediterranean) That's not to say that Goldblum is not a good actor, but this role wasn't for him. The same can be said for the other actors, too. They are competent but they only give off the air of "The Greek gods if they lived in London, from the minds of people who think beards and body hair are an affliction". In addition to being misplaced, the actors cannot show their talent when following a script that resembles a children's book.

Why does THE GOD Dionysus have the maturity of a 15-year-old? I repeat, The God Dionysus. He's a freaking deity, and a very old one at that. He is not a teenager neither in appearance nor in experience. In our culture, he is mystical, mighty, wise. Why did they downgrade him so? Just for the plot? This is not Dionysus just because you named him so.

The dialogue rarely takes itself seriously to the point it has you wondering at times "Do people talk and behave like that?". In a comedy where everything is meant to be already extreme and parodied. Even in comedies, something must occasionally be serious so there is a healthy fluctuation in tone and the funny moments can hit you. In KAOS very few scenes treated their impactful dialogue as it should be treated.

The queerness and diversity (good elements, in general) were worse off for being in KAOS. Like, I want these elements to be there. I'm just sad about the whole situation. It's not enough that the show is shit, now you also give an additional reason for conservatives to shit on diverse and queer characters because they are part of a stupid narrative.

I'm the type of person who doesn't mind the queerness of Astyanax and Theseus being lovers in the context of this specific show but they're still the oddest pairing to me because they're from the most irrelevant myths and eras. Also, Astyanax in my mind is a baby who died tragically, for little reason if we are honest, so to bring him back and make him a love interest is... ekh.

In addition, isn't Astyanax supposed to be crippled after a fall from the city walls when he was a baby? Sorry to change subjects but the show is so convoluted and with so many issues that it's extremely difficult to stay on track with what's wrong.

To the person who thought this show was a good idea:

Whatever. Bye. I'm fucking done.

#kaos netflix critical #anti kaos netflix #greek mythology #greek gods #retellings #kaos dionysus #kaos zeus #kaos hera #critique #review #greece #xenoi doing bs #movies

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transingthoseformers · 13 days ago

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Trying to make a G1 cartoon version of Tarn is so much fun. It's like, IDW took Shockwave, who was just a guy chilling and minding his own business, and said 'wouldn't it be crazy if he used to be a good guy with a normal face but he got his hands and head cut off and also lost his ability to feel love and joy?' So in order to make a G1 Tarn we have to reverse engineer that process. Tarn is not an alias. There is no DJD. He's probably not even wearing a mask, that's just his real face. Why's he look like the decepticon logo? I propose it's because his alt-mode is Megatron's throne.

I want it to be that one episode it's just suddenly revealed that Megs's throne was actually a Transformer this whole time (almost as if they arbitrarily decided to make a transformer toy of megs's throne IRL so they had to hastily write him into the show with little explanation). Is it just a reveal to the audience or to the Decepticons as well? Not sure yet. The idea that Megatron somehow didn't know about this is deeply funny.

And his personality is similar to canon except his role is much tamer, just going around base and scolding bots for breaking rules and insubordination, smacking them around but only in the typical consequence-free G1 way. Undoubtedly has it out for Starscream. He'd probably be the one to get remade into Cyclonus too.

I think we usually make G1 Tarn a bounty hunter but OOOOOO? G1 TARN BEING MEGATRON'S LIVING THRONE?????

There's fun implications there, especially in that "actually this silly thing could be a lot darker than the series intended" G1 fashion

And that would be something Hasbro would do to sell a new toy

And there are very fun ways we can lean into the rules lawyer part of Tarn's personality here in a G1 sense (especially considering the G1 decepticons and how they aren't usually ones for rules)

Consider: instead of being remade into Cyclonus, his fate is left up to interpretation until some random filler episode where we see an upgraded Tarn as an antagonist who is defeated/destroyed by the end of the episode his new toy is literally a repaint utilizing the same mold

#if Tarn was in G1 there would be thousands more megatarn fics #there is at least one gag of this Tarn trying to transform to run away but he turns into a stationary throne and gets hauled away #transformers #maccadam #g1 tarn #honorary tag #tarn #g1 megatron #g1 Cyclonus #g1 starscream #idw shockwave #transformers generation one #35 years later a revamped s3 G1 Tarn figure is released that's absolutely beautiful but gets recalled 2 months later for super cancer paint #do you understand the ramifications of making Tarn *literally* Megatron's throne :3 #many fun opportunities here

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galadrieljones · 15 days ago

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Tav/Astarion "emotional hurt/comfort" trope.

Because Astarion is majorly freaked out by the circus in Rivington. To be fair, Astarion would be freaked out by the cringe, uncanny valley "fun" of the circus, because to him it calls to mind the bovine nature of human boredom, and its pantomime equivalent to "real life," which horrifies him. It's essentially a cage full of masks, too many people who can't leave, walls on all sides as they all clap and nod in eerie unison. This reminds him of his own mask, his own cage, his own compulsions for performance, and it makes him feel unhinged. He is on the razor's edge. He would like to fight or flight immediately.

So his girlfriend Sansara the Rose, the elusive bard from Baldur's Gate, another high elf who loves him unconditionally, holds his hand and takes him behind the stage to show him the face paint. He is unnerved by the face paint. He tells her it reminds him of home in terrible ways. Part of what he always liked about her is that she doesn't "put on her face" in the morning. She just gets up and goes. She is like a sticky bun. She is a sun-kissed squeeze of citrus. She kisses his chainmailed shoulder, because it's all going to be okay, but she doesn't tell him that, not today, because he is occasionally stressed by her positive nature, which he can't help but view as naive. It's just fine, she thinks. He's doing just fine. He still wants to kill the clown.

On their way back to the crowd, San plays a little song on her lyre, just for fun, usurping the audience of another bard nearby. The bard starts an argument with her, insulting her needlessly and accusing her of trying to "steal his thunder." San outwits him, of course. The crowd claps. Her sharp tongue always amuses Astarion who is grateful for her patience with him at this haunted circus.

When they walk away, San tells him that she is glad he likes music, even if he doesn't like clowns.

"Music is not pantomime," he says to her. "Music comes from the heart. It cannot wear a mask." It's one of his rare earnest moments, out in the open, where others can see. They kiss next to the little guy who loves his wife and sells huge sculptures. The little guy says, "I like it!"

Back with Wyll and Karlach, San gets called up to the stage by Dribbles, who likes her singsong charm. Wyll is jealous because he LOVES Dribbles, a callback to his more innocent childhood. But then it turns out: that's not Dribbles at all! That's a fake. There's a fight. The impersonator bonks Sansara with a comically large hammer. She takes a stumble on the stage, and that really pisses Astarion off.

Finally! He gets to kill the clown. Which he does. With his sword. When it's over, Astarion feels a little better about the circus as he cleans the clown blood off his sword with a crisp linen handkerchief. It turns out they can just steal and stab their way through this place. It's no different from anywhere else they've almost died!

"Darling, let's go to the cemetery," he says. "There's a nice view of the canyon."

"That sounds pretty fucking good to me," says Karlach.

"I think I'd also prefer the company of the dead about now," says Wyll, picking the Displacer Beast out of Karlach's hair. "Can't say I like clowns anymore after all that."

So they go to the cemetery. Astarion picks the lock on the gate. As they stand near the fence and admire the canyon in the gentle light of the overcast afternoon, San says, "I didn't know you'd spent any time in Rivington. It's such a cow town."

"I've been everywhere in this hells forsaken place, love," he says. "It's like an anthill. I can't escape. I keep marching back. Like some fucking idiot."

"At least you're not alone this time," she says.

She's right, of course.

Karlach and Wyll, meanwhile, pretend not to watch them from under a nearby apple tree. Karlach eats her apple out of hand while Wyll cuts his into pieces with a knife. "You know I didn't like them together at first," says Wyll. "Thought he would break her heart. But now I see, his was already the broken one. She's like the sutures that hold the pieces together."

"That's a nice metaphor, Ravengard."

"Thanks, Karlach."

In a little while, it starts to rain. They decide to head back to camp. A priest is dead, they've learned, but they're all pretty much dead already. In their way. It can wait one night.

#baldur's gate 3 #bg3 #astarion #tavstarion #tav x astarion #astarion x tav #tavstarion fanfic #karlach #wyll ravengard #oc: sansara the rose #i like writing these drabbles #so freeing

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redroomreflections · 8 months ago

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Hotel California | Track 5: Heartbeat Havoc

Natasha Romanoff x fem!reader

Summary: Natasha Romanoff, frontwoman of the punk rock band Velvet Rebellion, falls hard for a woman she believes is too good for her. Their intense relationship unfolds in the chaotic world of rock 'n' roll, where they struggle to balance fame, personal demons, and their undeniable passion for each other.

W/c: 6.3k

Chapter 5/12

Masterlist | General Masterlist

Note: it's only up from here

18+ Minors DNI (mature)

Themes: love, fame, sex, drugs

"So, the release went well, but now we need to capitalize on the momentum. What we don't want is for you to disappear after the premiere," You leaned back into your chair, twirling a pen between your fingers as you spoke on the call. Your tone was confident but measured, ensuring there wasn't too much enthusiasm. You knew your client well enough to know this was a serious conversation.

Tanya Lawrence, an early twenties actress who had just starred in a blockbuster film, was on speaker, along with her agent and manager. You were coming up with a game plan to keep her in the spotlight and sustain the momentum—not only to continue promoting the film but to elevate Tanya herself.

Tanya's voice was thoughtful as she replied, “Yeah, I’ve been thinking about that. But I don’t want to do the same press rounds everyone else does. I mean, how many times can you sit on a couch and tell the same story?”

You smiled, fully expecting her reluctance. Tanya was always searching for something fresh. It was part of what made her appealing, but also part of the challenge of keeping her relevant without overexposing her.

"I hear you," You said, jotting down a note on your tablet. "The late-night circuit can get a bit tired, but we still need to keep you visible. How about this: we skip the talk shows and go for an exclusive feature with Vogue or Elle? We’ll craft a personal story—something deeper than just promoting the film. We’ll show your evolution from indie darling to blockbuster star. It’s more narrative-driven, more you."

There was a pause, then her manager chimed in, his voice skeptical but intrigued. “How personal are we talking?”

“Not too much," You assured him. "We’re not looking to dig into her private life—just enough to give the audience something to connect with. We’ll focus on her as an actress and philanthropist. Maybe highlight her charity work? The key is controlling the narrative.”

Tanya's voice came through, warmer now. “I love that idea. I’ve been wanting to talk more about the foundation. If we can connect that, it would feel real, not like I’m just selling myself.”

You nodded, already sketching out the potential angles. "Exactly. And we can play it across platforms—get some behind-the-scenes content on social media to drive engagement, maybe even a short Instagram series showing a day in your life. That way, you’re not just doing the standard PR push but building a brand around authenticity.”

The enthusiasm on the other end was palpable now. Tanya's agent was already chiming in with ideas on how to expand the campaign, and her manager was starting to see the vision.

"You’ve always got the best ideas," Tanya said, and you could hear the smile in her voice.

You chuckled. "That’s why you keep me around."

The call wrapped up, and you took a moment to breathe. Another client managed, another fire successfully put out. You were in the zone—this was what you were good at. A notification lit up the screen as you closed your notebook and checked your phone.

"Is Love in the Air? Natasha Romanoff Seen Leaving Concert with New Flame"

Your stomach did a little flip. The photo was grainy and interesting for today’s time, but you knew it was the two of you leaving the concert venue last weekend. It hadn’t taken long for people to start talking, and you weren’t sure how you felt about it all. You tried not to think about the sudden influx of followers you’d gotten or the interest of every possible gossip rag in suddenly taking a deep dive into your life.

As a publicist, you were no stranger to media frenzy, but it was different when you were the story. You’d spent years helping clients navigate this kind of attention, knowing exactly how to spin, deflect, and maintain privacy. But now, as the headlines circled you and Natasha, it felt oddly invasive.

You sighed, locking your phone and rubbing your temples. This wasn’t exactly how you imagined things going with Natasha. A quiet fling, maybe, or just a few months of fun before things inevitably fizzled. But the way her hand had lingered on yours that night, the way she looked at you when she thought no one was watching—something about it felt more... real. And now, the world was catching on.

Focus, y/n, you told yourself, pushing the thought aside. You weren’t going to let this derail your work. Natasha had dealt with the media for years—she could handle it. The question was, could you?

Your office door creaked open, and Monica strolled in, her usual swagger in every step. She leaned casually against the doorframe, crossing her arms with an amused smile.

“You see the headlines?” She asked, eyes twinkling with mischief.

You shot her a look, already knowing where this was headed. “You mean the ones making me sound like some groupie?”

Monica laughed, moving to sit across from you. “Please, Natasha Romanoff’s mystery woman has a much better ring to it. Plus, who says groupies can’t be successful?”

You rolled your eyes, but a smile tugged at your lips. “I didn’t ask for this attention, Mon.”

“You’re dating a rockstar. What did you expect?” she teased before her tone softened. “But for real, how are you feeling about it?”

You hesitated, twirling the pen in your fingers, not quite sure how to put it into words. “It’s... strange. I’ve always kept my private life private, you know? And now I’m on the front page, just because I went on a date.”

Monica nodded, her expression shifting to something more serious. “It’s a lot. But you’re the queen of handling this kind of thing. You’ve dealt with bigger fires. And Natasha... well, she’s used to it.”

You sighed, leaning back in your chair. “Yeah, but this feels different. It’s one thing to be in control of someone else’s narrative, but when it’s you...”

Monica tilted her head, studying you. “You really like her, don’t you?”

Your heart skipped a beat at the question. You hadn’t even allowed yourself to fully consider that yet. Did you? The two of you were just getting to know each other. It wasn’t supposed to be serious. But the way you smiled at the thought of her, the way your stomach fluttered when her name popped up on your phone—it was all too familiar.

“I don’t know,” you admitted quietly. “It’s moving fast.”

“You fucked didn’t you?” Monica began to grin.

Your eyes widened. “Jesus, Monica." You cursed. You looked back to your office door, the one she'd decided to leave open, and then back to her. She folded her arms knowingly and you sighed.

"Maybe?" You responded with a smirk. "Or... several times? I lost count that night."

"Oh my god!" Monica cackled. "I knew it. I'm so proud of you."

"Proud shouldn't be the word used for that," You shook your head. "Oh, and Sam decided to bring Isabella home early the next morning so they met each other much sooner than I expected. She also introduced herself as my girlfriend."

"Ooh, and how did Sam react?" Monica knew your ex-husband just as well as she knew you.

"He was shocked but also not shocked." You begin. "I just hoped it wasn't something that made Natasha question what we have going on. I mean anyone would be threatened to have the ex just casually standing in the living room."

"Nah, the woman is head over heels," Monica assured. "Besides, Sam's a good guy, and he's not a possessive ex. So, back to the importance, was she good?"

You couldn't help but smirk. "Yes, she was very good."

Monica smiled, nodding approvingly. "Good. Well, I'm happy for you. It's been a while since you've had some good sex, and even longer since you've had a good woman."

"Somehow you and my daughter are the same person just in different fonts," You mused at her words. "You have no idea how much Bella asked about her."

"What can I say, we both have good taste," Monica smiled. "Anyway, back to work. I'll let you enjoy your celebrity-adjacent status. It’s interesting really how you’ve managed to stay so lowkey. I mean Sam is famous, your parents are famous…”

You chuckled. "It's a blessing and a curse. You can't blame them for being overprotective though. They just wanted to protect their daughter and granddaughter from the limelight. It's why I stayed off the radar."

Before she could question it further, there was a slight knock at the door. An unassuming man with a delivery hat and a gorgeous bouquet caught your attention.

"Are you, Y/n?" He asked.

"Yes," You replied, a little surprised. You watched as the man set the vase down, signed for the delivery, and thanked him. Monica watched in interest.

"What's that for?" Monica asked.

"I have no idea," You replied, a little puzzled. You plucked the card from the bouquet and unfolded it, curious. As your eyes skimmed the neat handwriting, your heart skipped a beat.

“Just in case you needed a little brightness in your day. My time with you was amazing, being with you makes everything even better. — N”

You couldn’t help the smile that tugged at your lips, warmth spreading through your chest. Natasha had a way of being sweet without overdoing it—something that caught you off guard every time.

Monica raised an eyebrow, leaning over to get a glimpse of the card. “Ohhh, so the rockstar is a romantic.”

You laughed softly, tucking the card back into the bouquet. “Apparently. She’s full of surprises.”

Monica grinned, leaning back in her chair. “Girl, you’ve got it bad.”

You tried to ignore the flush that crept up your neck, your eyes drifting back to the bouquet on your desk. Maybe you did.

**********

Natasha wiped the sweat from her forehead, adjusting her grip on the barbell before settling into her seat. The gym was practically empty, just the way she liked it. Wanda was a few feet away, doing leg presses with ease while music pulsed through the space, the rhythm of the beats syncing with the steady clank of weights hitting the floor. Just as Natasha was about to dive into her next rep, her phone buzzed on the bench beside her. She hesitated for a second, but the moment she saw your name flash across the screen, she abandoned the barbell with zero hesitation.

Y/N: Thank you for the flowers 🌸 They’re almost as beautiful as the woman who sent them. Almost.

Natasha smirked as she leaned against the bench, typing back with one hand while the other still held onto the towel slung around her neck.

Natasha: Almost? I must be slipping. I’ll have to step up my game. 😏

She hit send, already imagining the soft laugh she knew you would give at the response. She wasn’t usually one for the whole romantic gesture thing, but with you, it felt... right. You were different, and Natasha could feel herself getting pulled deeper into this thing between you.

Wanda finished her set and glanced over, eyebrow arched as she caught Natasha mid-text. “You’re supposed to be working out, not flirting,” Wanda teased, giving her a knowing look.

Natasha didn’t bother hiding her smile. “Can’t help it. It’s... motivation.”

Wanda chuckled, moving to grab her water bottle. “Yeah? Motivation or distraction?”

Natasha shrugged, her eyes flicking back to her phone as it buzzed again.

Y/n: If this is you slipping, I can’t wait to see you in top form. Maybe tonight?

Natasha’s breath hitched slightly at the invitation, her mind already racing ahead to the possibilities of your date later. She glanced over at Wanda, who was watching her with mild amusement.

Natasha: Tonight, then. I’ll pick you up. Get ready to be impressed. 😉

Wanda raised an eyebrow as she stretched her arms. “You’re really into her, huh?”

Natasha paused, glancing at her friend before nodding. “Yeah, I think I am.”

Wanda smiled, something in her expression softening. She knew how guarded Natasha could be when it came to dating, so it was a relief to see her opening up again.

"Good," Wanda said simply. "I think you two look cute together. She's a breath of fresh air."

"Yeah," Natasha agreed. "She's different."

Wanda's smile grew wider. "You're different with her."

"Different how? I mean you've only seen us together once," Natasha wiped her brow again.

"Just different, a good different. You've got that glow that you used to have when you and Carol were first starting." Wanda pointed out. "You know before shit hit the fan."

"Hmm, maybe. We'll see." Natasha took a swig from her water bottle. "She's cool. She's secure in herself which is a pretty huge deal. It doesn't come across as cocky or anything."

"That's important. Especially in our field." Wanda nodded.

Natasha smiled to herself as she thought about the last time you’d kissed her goodbye. Your lips had tasted like mint toothpaste, your hands gentle and warm against her skin. It was such a simple thing—just a goodbye kiss—but it had stayed with her all day. She couldn’t wait to spend more time with you tonight.

"Well, I’m happy for you," Wanda said, breaking Natasha from her thoughts.

"Thanks," Natasha replied, feeling her cheeks warm as she thought about you again. "I'm... happy too."

It was true. Happy wasn’t a word Natasha often used to describe herself when it came to relationships. Her past romances had always been complicated, intense, and full of drama. It was almost a given that things would eventually blow up—whether it was her fault or the other person’s. But with you? It felt different.

She wanted it to be distinguishable.

For once, Natasha didn’t want a relationship that was marked by chaos or suffocating intensity. She didn’t want someone who would cling to her or become overly dependent, and she didn’t want to lose herself in someone else’s need for attention or validation. She’d been there before—too many times—and it always ended with someone getting hurt, usually her.

But with you, it felt like things could be... simple. Easy, even.

You weren’t trying to force your way into her life or demand all her time. You didn’t seem interested in changing her, and you weren’t fazed by her fame or reputation. If anything, you were the one who kept a distance from the spotlight, which Natasha found both refreshing and grounding. She liked that you had your own life, your own career, and your daughter to focus on. You didn’t need her to complete you.

That’s what Natasha craved—someone who wanted her but didn’t need her in the way that had always made her feel trapped before. She wanted love, yes, but not the kind that suffocated. She just wanted something real, something healthy. She wanted to feel safe and comfortable, the way she already did with you.

For the first time in a long time, Natasha felt like this could work. It was early, sure, but she couldn’t help but hope that maybe this time things would be different. Maybe this time she wouldn’t screw it up.

She glanced at her phone again, re-reading your last message. Her heart did that annoying little flip it had been doing more often these days, and she chuckled to herself.

***********

You stood in front of the mirror, staring at the dress you’d just slipped into, second-guessing yourself for what felt like the tenth time in an hour. It was a deep burgundy, with a flattering neckline, but was it too much? You tugged at the hem, frowning.

“I don’t know about this one,” You muttered, glancing over your shoulder at Monica and Isabella, who were both sitting on your bed, staring at you with varying levels of judgment.

Monica leaned back against the headboard, arms crossed. "It’s cute, but it feels a little... formal."

"Yeah, Mom," Isabella added, making a face. "It’s like you’re going to a wedding."

You sighed dramatically, turning back to the mirror. "Why is this so hard?" you grumbled, tossing your hair over your shoulder. "It’s just a date."

Isabella giggled, swinging her legs back and forth. "Not just any date. It’s Natasha Romanoff!"

Monica snorted. "Right? Rockstar extraordinaire."

You rolled your eyes, walking over to the closet and grabbing another dress off the hanger. "She’s just... Natasha," you said, trying to sound casual, but the butterflies in your stomach betrayed you. The truth was, Natasha wasn’t just any date. She had a way of making you feel both grounded and completely out of control, and that was terrifying.

Monica raised an eyebrow, a smirk tugging at her lips. "Uh-huh. Keep telling yourself that."

You tossed the burgundy dress on the bed and slipped into a simpler black one. “Okay, how about this?” you asked, turning to face them again.

Isabella tilted her head, considering it. “Better,” she said. “But... kind of boring.”

Monica nodded in agreement. "Yeah, it’s cute, but you can do better. You’re going on a date with a rockstar, not attending a PTA meeting."

You huffed, pulling the dress off and tossing it aside, feeling a mix of frustration and nervous energy. "I just... want to look good," you admitted. "Not too overdressed, not too underdressed. Just right."

Monica smiled gently, getting up from the bed and walking over to your closet. "You’re overthinking it," she said, flipping through the hangers. "Natasha likes you, right? So whatever you wear, she’s going to think you look great."

You sighed, sitting down on the bed next to Isabella, who leaned against you, her little arm wrapping around your waist. "You think so?"

"Definitely!" Isabella chirped. "Plus, you always look pretty, Mama."

You kissed the top of her head. "Thanks, baby."

Monica finally pulled out a deep green two-piece pantsuit, simple but elegant, with just the right amount of edge. "What about this one?" she asked, holding it up.

You stared at it for a moment, then nodded slowly. "Yeah... I like that one."

Monica tossed it over to you with a grin. "Perfect. Now go get ready so I can get the scoop later."

You laughed, slipping into the outfit and smoothing the top down over your belly. "You’re not getting any scoop."

"We’ll see about that," Monica teased, winking at Isabella, who giggled.

As you slipped on a pair of heels and checked your reflection one last time, Isabella tugged at your hand. “Mom?”

“Yeah, sweetheart?”

"Do you like Natasha?" she asked, her voice innocent but curious. "Like... like like her?"

You paused, looking down at your daughter’s wide eyes. Monica raised an eyebrow, waiting for your response. It was a fair question, and one you’d been asking yourself a lot lately.

"I do," You finally said, feeling a little nervous saying it out loud. "I really do."

Isabella smiled. "Good. I think she likes you too."

You chuckled, smoothing a hand over her hair. "Yeah? You think so?"

Isabella nodded enthusiastically. "Yeah! I saw the way she looked at you when she came over last time. She was smiling a lot."

Monica smirked from the corner of the room. "Out of the mouths of babes..."

You laughed, trying to ignore the way your heart fluttered at Isabella's words. Was it possible Natasha was already falling for you too?

A knock on the door made you jump, and Isabella squealed, running towards the door. "She's here!"

You took a deep breath, smoothing the front of your shirt and trying to calm your nerves. "Tell her I'll be right there."You called after her.

Isabella was more than happy to answer the door for Natasha. She swung it open with gusto, Bear hot on her tail, as she greeted the woman.

"Hey," Natasha said with a big smile.

"Hi, Natasha," Isabella said with a toothy grin. "Mama's almost ready. You can come in." She leads Natasha over to the living room and sits across from her on the couch. "Before she comes out I want to ask you a few questions."

Natasha was taken aback in an amused sort of way. "Questions?"

"Yup," Isabella said, a serious look on her face. "If my mom makes you mad, are you gonna write a mean song about her?"

Natasha had to hold back her laughter. She loved Isabella's forwardness and honesty. It was refreshing. "No. I don't write songs about people I care about. Plus, I'm not sure your mom could ever make me mad."

"She has her moments," Isabella shrugged. "Another question, Why do you like my mom? Not just for her body or her money or anything. I've been reading a lot of old school magazines lately and I have all of the information."

Natasha bit her lip and cleared her throat. "Uh, well, your mom is very kind and sweet. She's smart, and she has a really good sense of humor."

"And you're not using her for money?"

"Of course not."

Isabella seemed satisfied with her answers. She nodded. "Okay. Good. I like you, Natasha."

"Thanks, kiddo. I like you, too," Natasha chuckled.

"Do you think I could score backstage tickets to your next concert? I promise I'll behave."

"Isabella..."

Isabella rolled her eyes at your stern tone as you rounded the corner. "Fine." She sighed.

"Hey," You said softly, walking up to the pair, a small smile on your lips.

"Wow." Natasha breathed, taking in the sight of you. You looked incredible. "You look... good."

"Thank you so do you," You leaned into her embrace when she stood to kiss you on the cheek. You subtly glanced at her outfit, glad that you'd picked your casual one too. Natasa's dark denim jacket draped effortlessly over a loose white t-shirt. She wore Black skinny jeans, slightly distressed at the knees, and hugged her legs, giving her a subtle edge without trying too hard. Clean white sneakers grounded her look. A simple silver chain glinted at her collarbone, and her hair fell in tousled waves around her face, giving the impression that she hadn’t overthought any of it—yet still managed to look effortlessly striking.

"Thank you," Natasha said.

"You're welcome," You hummed as you pulled back from the hug, the scent of her perfume filling your nose.

"Okay, we'll be fine, Mama." Isabella gave a thumbs up. "Go have fun. Don't stay out too late."

You laughed. "We'll try not to," you promised. "And no ice cream past ten, okay?"

"Okay," Isabella rolled her eyes.

"Don't forget Bear's walk," you added.

"Mama," Isabella whined. "We got this. Go!"

"Alright, alright," You chuckled, turning to Natasha. "Ready?"

"Lead the way," Natasha smiled.

"Have a good time, ladies!" Monica called as the two of you made your way out the door.

Natasha held your hand as the two of you walked to the car, her fingers rubbing your knuckles soothingly.

"So where are we going?" You asked, glancing over at her.

Natasha grinned, squeezing your hand. "It's a surprise."

"Oh, a surprise?"

"Yup," She said. "Wait," She said just before opening the door. You turned to face her questioningly. She leaned forward, pressing her lips gently against yours.

Your heart skipped a beat at the unexpected move, and you let yourself sink into the kiss, savoring the way her lips felt against yours. It was soft and sweet.

"I figured you wouldn't want to do that in front of your daughter," Natasha mumbled awkwardly.

You laughed, resting your hands on her shoulders and pecking her lips again. "That was very thoughtful. Are you really not going to tell me where we are going?"

"I could tell you, but where's the fun in that?" She smiled, opening the car door and ushering you inside. As the car rolled down the busy streets, you found yourself stealing glances at Natasha. The way she carried herself, with a mix of confidence and ease, was enchanting. Her posture was relaxed but commanding, and even the simple act of driving seemed to radiate a kind of effortless cool.

The radio played a mix of tracks that Natasha had curated—a blend of classic rock and some modern hits that seamlessly complemented her edgy style. You could see the genuine enjoyment on her face as she sang along to the lyrics, her voice harmonizing effortlessly with the tunes. It was moments like these that made you appreciate the depth of her passion for music and the way it intertwined with every part of her life.

As the car pulled up to the restaurant, Natasha turned to you with a soft smile. "Hope you like this place. I've been wanting to check it out for a while."

You read the giant side on the outside of the building, The Cooking Institute.

"Cooking classes?" You guessed aloud. Natasha glanced over at you.

"I hope that's okay," She said quickly, suddenly a bit unsure of her plan. "I know it's a little unconventional, but I figured it could be fun. If not, we can just grab a drink somewhere or-"

"Natasha," You cut her off, resting a hand on her knee. "It's perfect."

Her shoulders relaxed, and she gave you a relieved smile. "Great. I'm glad."

You were soon ushered inside by an eager host, who led you to a spacious kitchen, equipped with every cooking appliance imaginable. You expected to see more guests inside of the space but instead only found an instructor.

"Welcome to Cooking Institute," The woman, who appeared to be in her mid-40s, greeted the two of you with a warm smile. "My name is Lisa. We're so excited to have you."

"Is this only for us?" You questioned Natasha.

"I rented it out for the night," She shrugged. "So, we could have some privacy."

You nodded, appreciating the gesture.

Lisa clapped her hands together. "Well, I'll let you two get settled and we can get started." She gave the pair of you a thumbs up and made her exit, leaving the two of you alone in the kitchen.

"So," You glanced over at Natasha. "What's the plan here?"

"Well," She grinned. "We're going to cook some food."

"Gee, I never would have guessed," You teased. "But what kind of food?"

Natasha's eyes twinkled with amusement. She leaned against the counter, her excitement barely contained as she outlined the evening’s menu. "Alright, here’s the plan," she said, her eyes sparkling with enthusiasm.

"We’re starting with a Classic Wedge Salad—simple, and something I can make with no problem." She paused, savoring the anticipation. "Next up, we’ve got Cheesy Potatoes Au Gratin." Natasha’s smile widened, clearly proud of the menu.

"And then," she continued, "we’re making Oscar-Style Beef Filet. It’s a bit fancy but worth it." She chuckled at the look of awe on your face, clearly pleased with herself. "So, ready to get cooking?"

You nodded, laughing. "This sounds amazing. Let's do it."

As the night progressed, the two of you quickly fell into a comfortable rhythm. It was easy, being around her, and the conversation flowed naturally. The host led you both to your designated cooking station, complete with all the utensils and ingredients needed for the evening’s menu. Natasha's eyes sparkled with anticipation as she glanced around, her enthusiasm contagious. You could see the genuine pleasure on her face, which made you smile even more.

"How do you like your steak?" You asked.

"Medium rare," She said.

You nodded. "Same. This looks so amazing. I can't wait to taste it."

"Me too," Natasha admitted, glancing over at you. "I love a good steak."

You smiled, shaking your head in amusement. "Of course you do."

"What?" She chuckled.

"Nothing," You said. "It's just... you're very cool, Natasha Romanoff."

She grinned, leaning closer to you. "Well, thank you. That's very sweet."

You bit your lip, feeling a blush creeping up your neck.

"See, blushing," Natasha said smugly.

You nudged her, trying to hide your grin. "Stop it."

She smiled, her eyes softening. "Never."

As the meal came together, you were surprised by how much fun you were having. It turned out your cooking ability was light years beyond Nataha's. Which wasn't that surprising. It's not like she had a child to cook for or anything.

"Nope. You've got it all wrong," You said, trying to keep a straight face.

"What?" Natasha looked at you, perplexed.

"The salt, Natasha," You chuckled. "You need a lot more salt."

"Are you sure?" Natasha looked down at her mashed potatoes.

"Yes, I'm sure," You replied, trying not to laugh. "You can't eat those."

"Aw," Natasha frowned.

"It's okay baby," You assured her, patting her shoulder. "I'm here to help."

Natasha grinned. "Okay, Chef."

You smiled, leaning over and kissing her on the cheek. "You're cute."

"Thank you," Natasha said.

"Alright, enough messing around," You declared, picking up the wooden spoon. "Let's keep this going." As you both continued to cook, the kitchen became a lively space filled with laughter and playful banter. Natasha's attempts at seasoning and timing were endearing, though they often resulted in humorous mishaps. The contrast between her occasional culinary blunders and your surprisingly deft cooking skills became a running joke.

Often there were times you two forgot Lisa was even there, too wrapped up in each other to notice her. Finally, your meal was finished and you both sat in the dining area to enjoy it.

"Okay, I've got to admit, that was pretty amazing," Natasha said, sipping her wine.

You smiled, savoring the bite of tender beef. "It really was. Thanks for bringing me here."

"You're welcome," Natasha said. "I'm glad you liked it."

You looked up at her, your heart beating a little faster. She was looking at you with such fondness that it made your chest ache. "So, I figured we should get to know each other a little better."

"You mean we don't already know each other well?" She smirked, referring to your night together.

You blushed. "You know what I mean. I mean, the basic stuff. What's your favorite color? Your favorite movie? Things like that."

Natasha nodded, smiling softly. "Sure. My favorite color is blue."

"Like the ocean?" You asked.

"Yeah," she replied. "What about you?"

"Green," You answered. "Like the trees."

"Interesting," she murmured. "Movie?"

"I'm a big fan of romcoms," You confessed.

"Really?" Natasha asked, arching an eyebrow.

"Yeah," You shrugged. "The Proposal. Anything with Sandra Bullock or Jennifer Lopez and I'm sold."

Natasha laughed. "Good to know."

"What about you?" You questioned.

"Well, I'm a sucker for anything with Ryan Gosling." She grinned.

"Good choice," You agreed.

"Favorite food?"

"Anything sweet," She winked.

"I can work with that," You chuckled.

"Favorite TV show?"

"That's a tough one," She paused, thinking. "House."

"Nice," You said.

"Favorite song?"

"Don't you already know?" She arched an eyebrow.

"Yes," You laughed. "But I want to hear you say it."

"Fine," She sighed dramatically. "The Scientist by Coldplay."

"You have a good taste," You mused.

"I think so," She said, winking at you.

"I like The Night We Met," You replied.

"Really?" Natasha asked.

"Yeah," You said. "It's a great song."

"It is," She agreed. "I just didn't think you had a real liking for that particular genre."

"I'm full of surprises," You wiggled your fingers.

Natasha took a sip of her wine. "Clearly."

"Okay, last one," You said. "Favorite band."

"The Beatles," She replied without hesitation.

"Nice," You said.

"They're classics," She shrugged. "Can't go wrong with them."

"That's true," You said. "I think I have a lot more to learn about you, Natasha Romanoff."

She smiled softly. "Same goes for you, Y/N, Y/L/N."

As the two of you finished dinner, the conversation shifted into a more relaxed tone.

"So," You said, leaning back in your seat. "What's next on the agenda?"

"That depends," Natasha replied. "Do you trust me?"

You grinned, your heart skipping a beat. "With my life."

"Well, then, let's get going."

As the night progressed, you found yourself growing more and more intrigued by Natasha. She was intelligent and witty and had a surprisingly dry sense of humor. Her eyes lit up when she spoke about the things she was passionate about, and it was clear she was truly a free spirit. You could see why she had risen to fame so quickly.

***************

The next stop was Echo Park’s Swan Boat line, the sight of the bustling park filled with families and couples enjoying the evening brought a smile to your face. The iconic swan boats bobbed gently on the water, their white feathers illuminated by the soft glow of park lights.

"This is beautiful," You breathed, taking in the sight.

"It is," Natasha agreed, slipping her hand into yours.

"You ready to get out there?" She asked, grinning.

"I'm a little nervous but I'll get over it," You held her hand. You joined the queue, the line stretching a bit as people chatted and waited for their turn on the boats. As you neared the front of the line, you noticed a group of teenagers in front of you. One of them, a lanky teen with a mop of curly hair, kept glancing back at Natasha with a mixture of curiosity and excitement. After a few moments, his eyes widened, and he nudged his friend, whispering loudly, “Hey, isn’t that Natasha Romanoff?”

Natasha caught their gaze and offered a friendly if slightly reserved, smile. She knew being recognized was part of her life, but she also valued moments like these where she could enjoy a quiet, semi-anonymous outing. There was a moment when both of them argued about who would talk to her before they made a choice.

The teen, gathering his courage, turned around and said with a shy grin, “Hi, um, I don’t mean to bother you, but are you Natasha Romanoff?”

Natasha chuckled softly, her eyes twinkling with amusement. “Guilty as charged. How are you doing tonight?”

The teen’s friends crowded closer, their excitement palpable. “We’re huge fans! This is so cool,” one of them exclaimed.

"Would you guys mind taking a picture with us?" Another asked, pulling out their phone.

Natasha's smile grew warmer. "Of course not. " She pulled you in close, wrapping an arm around your waist. You tried not to blush as the teens gathered around you, their phones held high.

"On the count of three, smile!" The first teen instructed. You obliged, smiling brightly as the phone flashed.

"Thank you so much," he gushed. "This is so awesome. My friends won't believe this."

Natasha grinned, giving them a wink.

"Are you guys on a date?" One of the teens, a girl with an oversized hoodie and glasses asked.

"Maybe," Natasha's eyes sparkled. "Or maybe it's just a casual hangout between friends."

You laughed, shaking your head. "I can tell you that I'm a fan of hers." You played along.

"Me too!" The girl squealed. "I'm your biggest fan, Ms. Romanoff."

"I'm flattered," Natasha chuckled. "Well, have a good night, everyone." She pulled you toward the front of the line as it was now your turn to ride.

"Thank you, Ms. Romanoff!" The girl called out. "This is the best night ever!"

"Any time," Natasha called back. You couldn't help but smile as the teens began animatedly talking amongst themselves.

"That was nice of you," You murmured.

Natasha's gaze softened. "They were sweet kids. Besides, I don't mind the occasional photo op. It's all part of the job. You ready?"

You looked at the small boat tethered to the dock, a mix of nervousness and excitement fluttering in your chest. "Is it safe?"

Natasha laughed softly. "It's perfectly safe. I promise."

With a deep breath, you nodded. "Alright, let’s do it."

You both climbed into the boat, Natasha taking the oars and maneuvering it gently away from the dock. As the boat drifted into the middle of the pond, the moonlight cast a soft glow over the water, creating a serene and almost magical atmosphere.

The gentle lapping of the water against the boat was soothing, and you glanced at Natasha, who was focused and confident as she rowed. After a few moments, she set the oars aside and leaned back, her gaze meeting yours.

"How are you holding up?" she asked, a teasing smile on her lips.

"Surprisingly well," you replied, your heart racing a little from the adventure. "This is actually kind of thrilling."

"I'm glad," Natasha grinned, reaching for your hand and squeezing it.

You gazed up at the night sky, admiring the twinkling stars and the bright moon. It was a beautiful night, and you were happy to be sharing it with her.

"I know this is a little cheesy," She started, her gaze turning soft. "But I've always loved the idea of a first date."

"I love a good first date," You chuckled. "I think you knocked it out of the park for sure." You said.

"I'm glad," She whispered. "I was hoping you'd like it."

You smiled, your chest tightening with emotion. You felt a connection with Natasha that you couldn't explain.

"So, my girlfriend..." You grinned, alluding to Natasha's introduction of herself to Sam.

"It has a nice ring to it," She laughed aloud. "I saw you fumbling and took the opportunity."

"Thank God for it," You shook your head. "I don't think I would have known what to say."

"You would have figured it out," She assured.

"Not fast enough," You replied. "I want you to be my girlfriend." You said with such confidence Natasha's head whipped over to you.

"Wait, really?" She asked.

"Really," You nodded.

Natasha smiled, her cheeks flushed with pleasure.

"I was hoping you would," She replied.

"Well, consider me your girlfriend," You declared, feeling your stomach do flips.

Natasha's gaze met yours, and she leaned in, kissing you tenderly. The kiss was soft and sweet, filled with the promise of something more.

"Thank you," She whispered, her breath warm against your skin.

"You're welcome," You murmured, your heart pounding.

You sat in comfortable silence for a few moments, simply enjoying each other's presence.

"So," She finally spoke, her voice quiet. "Where do we go from here?"

"I guess we figure it out together," You replied, your gaze locked on hers.

"I can't wait," She said, her eyes shining.

---> next part

#natasha romanoff #black reader #natasha x reader #black widow x reader #black widow x female reader #natasha x you #natasha romanov

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lover-of-mine · 3 months ago

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Saw a tweet yesterday regarding the new OS interview and i wanted to get your brilliant thoughts on it. They believe because OS used language of “how obvious it will be” and the “the extent of it” to where even Oliver was surprised. PLUS the talks about “exploration” and “feelings”, that the audience will figure out about bucks feelings BEFORE buck has his realization arc.

Any thoughts or comments. I would love to know your thoughts.

I mean, we have been thinking about how Buck got his feelings wrong. If the "bait and switch" from 704 really was a bait and switch, it was really poorly executed and since Eddie was looming throughout most of bts relationship, the question is there. Buck is gonna spiral. That's a fact. Spin like a top if you may. But Buck is famously bad at naming his feelings. So I totally can see them guiding the audience towards the realization along with Buck, a very intense show don't tell, where Buck doesn't say the words but his feelings become increscently more obvious until there's no other explanation. Until Buck has no other distractions or things to project onto. It would be a way to contextualize 704 without having Buck be like "I never wanted Tommy's attention" because, on some level he did, the spiraling was the part that was about losing Eddie. And since he's gonna be put in a position where he is losing Eddie again, I can see him not looking at his feelings head-on and having to be guided to the realization. It's also a good way to get the audience used to the idea without explicitly saying the words until the climax of it all. And honestly, I kinda love the idea of Buck being pining and oblivious at the same time while Eddie figures his shit out and comes back.

For a while I've been saying there should be flashbacks during the realization or the getting together, mostly because I think it would be fun to recontextualize the show into "oh, they've been in love all along, they just didn't know because it was all so natural to them" and it adds to the dramatic effect, it makes it an event, it's fun to watch. And it would also help sell the idea that this was planned even if it wasn't. So, I think Oliver meant some sort of flashback, but I can see the concept of easing both Buck and the audience into it. It's a way to make it clear, and since he said they're gonna go into more detail than he expect, that's a solid theory.

#911 #i really need a tag for asks #911 spoilers #buddie #911 speculation

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linkspooky · 1 year ago

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The Supreme King Judai vs. Dark Deku: How To Do a Dark Deconstruction of your Shonen Hero!

Think of this as less me complaining about My Hero Academia, and more me taking a closer look at the writing of the Dark Deku arc and why it failed to achieve what it set out to achieve.

I like to look at writing on a deeper level than Thing Bad, and Thing Good. Imagine a story is a car engine that won't start, in order to find the problem you've got to disassemble all the pieces and look at them one by one to see what pieces aren't working. That's the kind of criticism I'm talking about, break storytelling down into different tools like parts of an engine, plot, world, characterization, ideas, actions and consequences and then look if the author is using those tools effectively to sell a story.

In other words we're talking about the difference in ideas and execution. All works of fiction have ideas, even bad anime can have good ideas inside of it. The idea in question is Judai's case is can exploring the dark side of a hero. Can a hero's positive qualities also lead them down a dark path? Yu-Gi-Oh Gx answers this in a satisfying way, and My Hero Academia I'm going to argue does not.

IDEAS VS EXECUTION

One piece of writing advice I heard from Brandon Sanderson of all people that always stuck with me is "Ideas are cheap. You can always come up with more ideas."

All works of fiction have ideas and themes no matter what the Game of Thrones guy say, but some works are better at communicating their ideas than others. I want to quote a Homestuck Ending analysis of all things to explain what I'm talking about.

When you are a writer you can write anything you want. But if you want to write a story that people want to read you have to follow the rules of good storytelling. There are reasons why storytelling rules exist. A story is a bond between author and reader, readers to other readers. It is a communication between humans and humans work in a certain way. Storytelling rules are rules of communication. Rules for handling expectations and saying what you intend to say without it being misheard. Rules for tugging at emotions and pulling heartstrings in a good way rather than a bad way. Storytelling rules are lessons learned by authors of the past that failed to communicate what they needed to. They are not that subjective.

Chief among these rules is buildup and payoff. In fact one of the most basic techniques of storytelling is foreshadowing, in screenplays you usually foreshadow one important twist, then add a reminder so the audience doesn't forget, before finally paying it off.

To simplify build up and pay off I like to refer to it as question and answer. Usually a story will ask its audience a question, and usually by the end that question is answered, unless the point is to leave that question unanswered / ambiguous.

Character arcs are examples of buildup and payoff too, a lot of characters, especially in serialized media are sold on their potential future development. Here's an example, how may people got invested in Dabi years in advance because of the Dabi is a Todoroki Theory? That's an example of good buildup and payoff, because the author sewed just enough hints to build up an audience expectation and then paid it off. People became invested in the story, because they thought their investment and theories would pay off eventually and it did - so hooray!

Both MHA and YGOGX dedicate an entire arc to trying to deconstruct their main protagonist. They also seek to deconstruct the "Hero Complex" or "Saving People Complex" that each protagonist has, and ask the question if those traits are really a good thing.

This post puts it better than me so I'm going to quote tumblr user rhodanum.

‘Hero complex’ or 'saving people complex’ — an obsession with rescuing people in the face of danger, often to the exclusion of all higher thought processes. All too prevalent among shounen main leads, especially hot-blooded shounen main leads. Yuki Judai is certainly no exception. What is interesting in his case is that the writers follow the consequences of his rash, reckless, often thoughtless actions all the way to their heartbreaking logical conclusion. For those not fully in the know, it involves spiky black armor, an army of sycophants and a fall from grace that caused as much damage as a thermonuclear bomb. Don’t make perky, happy shounen protagonists snap, people. First rule.

I'm going to quote another video too, to add onto the above quote. It's from this video, starting at around 39:52

"GX is kind of famous among fans for taking its happy protagonist and stripping him down to all of his worst qualities. And that's fun. So Judai is a character who's really interesting. He's definitely open to a lot of interpretation, and you know we're gonna be leaning on my interpretation of him. Sorry. It's my video. I think he's commonly referred to a "very typical shonen protag" probably one of the most shonen protag of the yu gi oh protagonists. He is headstrong and loud, and (makes punching noises while air boxing), he is a type of character who's like I'm gonna be the best and brings everyone along on the ride. He's the kind of protagonist that everybody loves him they're all fighting over him, and Yu Gi Oh Gx really puts him up on the pedestal, of like THIS GUY. THIS GUY DOES IT ALL. Then season 3 rolls around and dares to ask: but what if that's selfish behavior?"

That's the question both MHA and YGOGX are asking in Dark Deku arc and Season 3 respectively, what if all of those behaviors that make them the typical hot blooded shonen protagonist are actually selfish? Is their hero complex really a good thing?

Each arc is tasked with exploiting the main character's flaws, until they reach their emotional breaking point and lowest point in the story. Let's see how each story treats their main character and from comparing that I want to make a point about what makes effective storytelling.

The Supreme King Haou Arc

Instead of recapping the entire arc to you, I'm going to touch upon what ideas the story setup in regards to Judai's character and how it paid off those ideas. What are the questions the story asks and what answers does it give us?

I'm going to focus on the two questions I outlined above. Is their hero complex a good thing? and What if this is selfish behavior?

Yu-Gi-Oh GX is an anime where instead of using super powers, the main characters fight each other with a magical trading card game. Besides that fact there's a lot of similarities between GX and MHA. They both take place in an academy setting where the main characters learn about using their quirks, and playing the card game better respectively. It is a shonen battle anime where almost everything is solved with a shonen fight, they just use cards instead of flashy superpowers. The main characters are all students who have to grow up and enter the adult world.

Judai and Deku are both characters that deconstruct the "hero complex" of shonen main characters. Judai is themed entirely around heroes, he has an elemental hero deck where every hero is based off a hero that appears in popular culture, he is the best duelist in the school and the one everyone calls on to save the day over and over again. As stated above he is the most Shonen Protag to ever Shonen Protag, he's a warrior therapist who makes friends and saves the day because he's really good at the card game, and will always show up to fight for his friends.

For the first two seasons Judai is built up on this pedestal of the ideal Shonen Protagonist, and praised by basically every single character for being "childish" and "pure of heart" however when Season 3 comes around the narrative stops heaping endless praise on him and starts to challenge him. However, this doesn't come from nowhere there are signs of these personality flaws of Judai, they just get swept under the rug the first two seasons.

There are several moments such as the climaxes to season 1 and season 2 where Judai fails to grasp the stakes of the situation, saying things like "Oh, this card game is really fun" when he's dueling with lives on the line. Judai in fact has a pattern of "only wanting to duel for fun", he fights because it's fun to him not because it's the right thing to do. However, he's continually forced into high stakes situation where he has to fight for others just because he's the strongest character - and constantly having to carry that on his shoulders starts to weigh on him after awhile. Judai will show up to fight and save his friends every single time they need him, and that's the source of his hero complex because after a certain point his friends start relying on him too much.

In general he also doesn't have deep thoughts of what heroes are, he admires heroes but it basically boils down do "Heroes are cool." He's kind of like Goku where he doesn't really fight for any idea of justice or to save others, just for the thrill of fighting itself. He also has a tendency to be insensitive to other people's feelings and take things for granted. For example, in Season 2 like three of his friends get possessed and Judai doesn't even do anything about it for half a season because he's too busy participating in the dueling tournament.

In general though it's a pattern of Judai only wanting to "duel for fun" and him being forced to duel to save others instead, and be responsible for other people. Judai will show up to fight for his friends, but even then he falls back on just "dueling for fun" because always having to fight for others is too much responsibility to put on his shoulders.

There's a lot of hints of Judai's flaws, but they also tend to get brushed off because shonen protagonists are just like that. Like, Judai can say some insensitive things to his friends sometimes and be oblivious to their feelings, well he's just a book dumb shonen protagonist. Judai should be taking this fight seriously, well he's just being a happy go lucky shonen protagonist, etc. etc. A lot of these things are also just swept under the rug as him just being a child, a boy-at-heart like most shonen protagonists are supposed to be.

However, season 3 starts looking at Judai not as a shonen protagonist but as a person, and it all starts with the suggestion that maybe Judai remaining a child at heart is a bad thing, especially when his friends around him are all growing up. It all starts with the introduction of this guy right here - Johan Anderson.

Johan shares many things in common with Judai, he can see spirits, he's a duelist who loves to duel, he has a strong connection with his cards. However, the more you compare them the more you notice that Johan has a lot of things that Judai lacks. They are so similiar that they become almost instant best friends, but even then Johan himself notices there are a few things off about Judai's behavior.

Sho: Bro... I thought you would have something to say to me. Johan: He seems lost. I think he just wanted you to give him some advice. Judai: SHo will be fine. Johan: Judai, you're colder than I thought.

It takes someone completely new to the dynamic between Judai and his friends, who likes Judai but hasn't spent the past two seasons idolizing him to realize that some of his behaviors are kind of off. That Judai isn't really the most empathic, or even that good at understanding other's feelings.

Johan is the one to point this out because he has the emotional intelligence that Judai lacks. We've been told Judai is our shonen protagonist for two seasons, only for the real shonen protag Johan to step up out of nowhere and show them how it's done. Johan is good at seeing other people's emotions, and he becomes a near instant pillar of emotional support for Judai. More than that, he also is the first person to treat Judai like an equal, he never asks Judai to save him like all of Judai's friends do, if anything they both save each other.

Johan also exists to show what Judai is lacking, mainly a reason behind why he fights.

Judai: I do it because it's fun. Or because of the surprise and delight, I guess. Well, I guess that comes down to "because it's fun", huh? Sorry, I guess that's an awkward question to ask out of nowhere. Johan: What's wrong, Juadi? Judai: Nothing, really. Johan: I have a proper goal. Judai: Don't tell anyone. Even if people don't have the power to see spirits, they can still commune with them. That's why, for those people as well... (I want to be a bridge between humans and spirits).

Judai is someone who will always show up to save his friends when he is asked, but he doesn't really have a concept of what being a hero is or the repsonsibilities it entails, he just admires heroes in a pure hearted way. Johan on the other hand has a reason to fight and that's to help humans and card spirits get along, and Judai expresses admiration for Johan because he has a goal.

At the same time this is happening, Judai gets picked apart by two villains for his lack of reason for fighting. Judai has been praised to death for two seasons for being pure of heart, but now the villains are challenging him by saying he has no "darkness of the heart". That without it the reasons that Judai fights are superficial and frivolous.

We have something that you lack. Judai: That I lack? Yes the darkness of the heart that slumbers deep within a duelist. The burden that a duelist bears in his heart. Judai, you have none of that. Judai: A burden in my heart. I have nver, not even once, dueled for myself. I doubt someone like you, who only thinks of himself could udnerstand that. Judai: What would be fun about a duel like that? It isn't fun at all! You must bear other's expectations while remaining strong. That is what it means.

Judai is a bit of a blood knight, he will be dueling with his friends lives on the lines and stop to go "Wow, this duel is really fun" and it's usually just dismissed a shim being a shonen protagonist until suddenly it isn't.

I'm gonna draw a deliberate parallel between Deku and Judai here that I'll reference later on, they both don't understand "darkness of the heart" and they need to understand it in order to grow as people.

There's also the underlying notion that being a hero is not all it's chalked up to be, to be a hero, to fight for other people's sake means also taking on their suffering. As noble as that may seem suffering is suffering.

Cobra: Fortune would never smile on a fool like you who fights while prattling on about enjoying duels. Cobra: You are certainly a talented duelist. But you have one fatal flaw. Judai: A fatal flaw? Cobra: Yes, your duels are superficial. Someone who fights with nothing on his shoulders, cannot recover once he loses his enjoyment. What a duelist carries on his shoulders will become the power that supports him when he's up against the wall! Cobra: But you have nothing like that! Those who go through life without anything like that cannot possibly seize victory. Cobra: But I know that nothing I say will resonate with you... because you have nothing to lose but the match. Judai: I... Cobra: Afraid aren't you? Right now, you have nothing to support you.

In the context of this scene, Cobra has told everyone that he's currently enacting his evil plan out of the vain hope that he can somehow revive his son from the dead.

As insane as "I think I can revive the dead" is as a motivation, fighting for the sake of your dead son is a much stronger motivation than "I think duels are fun."

Judai doesn't have an appropriate answer as to why he fights when he's questioned by the villains, and instead of coming up with his own answer he relies on the answer Johan provided for him.

Johan: You idiot. Why are you so shaken Judai? You think you have nothing on your shoulders? Give me a break! You always bear other's expectations on your shoulders. When you have other people's expectations riding on you, it means they've trusted you with their hopes! Don't you always carry those? If you lose what will happen to us here?

Johan's words snap him out of it, but this isn't Judai coming up with an answer himself it's just taking the one that's provided for him.

This is also the point where we get start to develop an answer to our question. Is Judai selfish?

In action he's not. His actions are selfless. Judai is always fighting for others, even when he only wants to duel for fun. He will show up and fight if you ask him too.

However, in motivation he is selfish. His motivations are selfish. Judai isn't fighting out of some selflessness, but because fighting for the sake of other people gives him a purpose. He keeps fighting for his friends, because he's built all of his friendships around being the one to solve their problems. It's why he Johan's answer suits Judai so well, because he thinks that's how friendship works that he has to keep carrying everyone's burden for them.

Not only does it lead to unhealthy friendships (he sees his friends as burdens) but also it's unhealthy for Judai himself (he can't keep carrying other people's burdens without getting weighed down).

Judai's hero complex, this pressure he feels to save everyone around him arises from two things, it gives him friends when he'd been a lonely child before that, and it gives him purpose. Playing the hero is how he made all of his friends, and now it's how he keeps them.

However, in spite of doing all this to keep his friends, Judai's relationship with his friends is so all give and no take that he's practically fighting alone until Johan shows up. Judai doesn't form a healthy and stable relationship with Johan however, Johan just becomes a crutch.

In Summary:

Judai's actions are selfless.

His motivations are selfish.

Judai's purpose is to carry everyone's burdens on his shoulders.

Judai's friends exist to be saved by him.

The following arc is roughly divided into four sections. Everything I've covered above happens in the first section the Cobra Arc.

Cobra Arc

Zombie Survival Arc

Dark World / Supreme King Arc

Oh Shit, Yubel's Back

The cobra arc is the introduction and it sets up the basic ideas of Judai's character that I listed above, in addition it focuses on the question of if Judai is selfish, and the idea that being a hero is a burden. There's also the third question where Judai is called to understand darkness of the heart, something Deku will also be called to do.

The Zombie Survival arc is an arc where the school is teleported to another dimension and they have to survive for several days with a limited food supply, everyone fighting, and an outbreak of zombies.

The main setup of this arc is to show how everyone is working well together as a team, even in a high stress situation. Alexis, Judai, Misawa, Kenzan, all pull together with the help of new students Johan, Austin O'Brien and Jim Crocodile Cook.

However, I'm brushing over this arc because Judai doesn't actually do much this arc. If you analyze who does what, it's mainly Johan and Austin O'Brien who are in charge of the entire school. Johan demonstrates leadership skills, calls on everyone to pull together in a time of crisis, and most importantly emotionally supports Judai all throughout.

Even when Judai is confronting the main villain of this scenario Yubel, it's Johan who shows up to support Judai, and it's Johan who wins the duel at the sacrifice of his own life. Everyone gets through the zombie arc unscathed, but it's because Johan is the hero of this part of the arc, not because of anything Judai really did.

Judai who having gone on so long carrying other people's burdens to the point where he's made saving others his purpose, has for the first time experienced someone helping him carry those burdens only to disappear and Judai does not react well to it.

This is when the story has finished setting up all the dominoes that are about to fall. We have one mini-arc drawing attention to the dark side of Judai's personality and how he doesn't understand his own darkness, and one mini-arc showing Johan being a much more effective hero and leader than Judai, demonstrating everything Judai lacks.

You Either Die a Hero, or You Live Long Enough...

Yadda yadda you know the rest. A character being undone by the same traits that made them a hero, is classic tragedy 101. It's called the Hamartia or the fatal flaw. A character's greatest strength in some situations can be their greatest weakness in others. The Supreme King Arc is a masterclass in showing how the traits Judai had that led to his success in the first season, can lead to his total ruin, and even to him becoming the villain of his own story.

Hero and Villain are much closer than you'd realize, and this becomes especially true in the relationship between Judai and Yubel. Judai shares an extremely close relationship to his antagonist foil, just like Deku does with Shigaraki.

However, in Judai's case he's the reason that Yubel turned evil. While it's not entirely his fault, Judai's decision to abandon Yubel when he was a child, made Yubel go through ten years of painful torture all alone, which is the reason behind their current madness.

To summarize Yubel and Judai's story briefly. Yubel is a card spirit, the thing that Johan wants to serve as a bridge between card spirits and humans. Judai had an incredibly close relationship with Yubel as a child, but Yubel was overprotective and used their powers to harm anyone who came near Judai. Judai launched Yubel into space hoping the righteous space rays of justice would calm Yubel down (I know that sounds stupid just go with it) but instead Yubel was hit with the light of destruction a corrupting force that made them endure years of torture. They called out for Judai's help in their dreams only for Judai to eventually forget about them with a psychologist's intervention. Eventually the satellite they were trapped in made it's way back to earth, and they almost died burning up on re-entry. When they finally crawled their way back to Judai, they found Judai had been living the past ten years happy and surrounded by friends, while they had been tortured in space and nearly died all alone.

At which point Yubel snaps, hard.

While it's not Judai's fault entirely because he was a child and he didn't know what was going to happen, he still made the decision to abandon Yubel and stuck them in that situation. Judai's actions creaeted Yubel, and now Yubel is here broken and hurt and determined to hurt all of Judai's friends.

Judai doesn't know how to cope with the guilt or responsibility for either of these things. Both for creating Yubel, and for the fact that because of Yubel Johan might now be dead.

I'm the one who made her what she is!

This is where the show starts demonstrating that understand in darkness of the heart is necessary, because Judai can't understand two things, number one the fact he might have hurt Yubel, and two how to deal with the sense of responsibility he feels towards Yubel becoming what they are, and for Johan's apparent death.

He just feels a lot of guilt, and as someone who's only been the carefree hero up until this point he doesn't know how to deal with that guilt.

Judai makes a very similiar decision to Deku. He decides to go out and hunt for Johan by himself, leaving his friends behind so he won't risk their safety. Unlike Deku however, his friends immediately follow and insist on coming along.

This is when the problems start appearing, because the second everyone enters the Dark World to look for Johan, the show starts demonstrating clearly how different Judai's leadership is from Johan.

All of Judai's flaws start popping up, he's tactless, self-centered, and doesn't consider others feelings, and most importantly of all he doesn't look before he leaps. These behaviors that could earlier be swept under the rug, just become aggravated in a high stakes situation where everyone's lives are on the line. Judai came together with everyone to look for Johan, but he keeps acting like he's alone.

Another user's meta post here summarizes Judai's actions in the Different Dimmension, more succinctly so I'm going to quote them.

Shit Judai’s friends signed up for when they went into the Different Dimension with him:

searching for Johan

working as a team

deciding as a group what risks they’re willing to take

risking their lives together, on an even playing field

Shit Judai’s friends didn’t sign up for when they went into the Different Dimension with him:

having their input thoroughly ignored

being left behind while their friend recklessly charged ahead

having essential information kept from them (Judai didn’t tell them about the fatal consequences of dueling in Dark World)

being kept from dueling without their opinion on the matter ever being taken into account

having their physical, mental and emotional well-being be completely ignored by the de-facto group-leader

being relegated to secondary importance in comparison to Johan, in Judai’s eyes

having their group leader outright break the promises he made to them

To name a few things Judai does while in the different dimmension. Almost immediately after entering the dimension he runs away from the rest of the group, forcing Austin O'Brien to follow before anyone has even gotten their bearings or investigated where they are. Make an agreement with everyone to rest and wait for Dawn to search for Johan, only to run off into the middle of the night without telling anyone. Run off ahead of the group leaving several of their members behind, and when O'Brien tells Judai that members of their group are missing and that he should go back and search for them, Judai asks O'Brien to just do it instead.

Judai doesn't see the flaws in this behavior because it's how he's been acting all along, he always runs off into danger head first and he always fights on his own. Judai's never been good at considering the feelings of others though because he's a tad socially impaired, so he just doesn't seem to notice everyone's growing concerns with how he's acting.

Once again we are asked the question, is Judai's behavior selfish?

Judai deliberately abandons his friends three times, and the third time everyone stops to discuss his behavior.

Kenzan: True, we did come to this world to save Johan, saurus... Fubuki: He did find some minor clues as to Johan's whereabouts, so I suppose it's only natural, but... Asuka: But right now, I feel something is different about Judai. Menajoume: That's right. He got us all riled up about this, and now he's totally forgotten the comrades who came along with him. Kenzan: That's really irresponsible, Saurus. Fubuki: I don't mean to be a wet blanket, but I wish he'd realize the anguish he's putting us through. Asuka: Judai isn't doing this for Johan or us now. It's for himself. He just seems to be rushing forward, headlong, to forget the responsibility he bears on his shoulders.

The answer now is yes, his motivation is selfish because it's no longer about saving Johan, but just to stop himself from feeling guilty.

The stress of the situation is aggravating Judai's worst qualities yes, but Judai's always thought about himself first before others, he's always viewed his friends more as burdens / people to be saved rather than equals.

This all leads to a situation where Judai messes up big time. The same way he abandoned Yubel, he abandons the rest of his friends to run ahead and search for Johan.

They are all kidnapped - and it's Austin who notices they are missing Judai isn't even paying attention. Austin says they should head back and look for the others, but Judai asks Austin and Jim to handle that alone so he can keep searching for Johan.

Jim: The others haven't arrived yet. Something might have happned to them on the way. Judai: I see. Sorry, but could you go back and fetch them? Jim: What? You mean you don't care what happens to them? Austin: Don't forget these are the friends that are in this with you. To fulfill our objective in this dimmension we need everyone working together. You wait here until we return. Judai: Okay, I will.

Austin and Jim agree to go back and search for the others, if Judai promises to wait for them here instead of going on ahead. A promise which Judai immediately breaks.

Which is how Judai walks right into a trap.

Judai abandons his friend so they get kidnapped. He doesn't go back to look for them, so he misses out on a chance to save them. He doesn't wait for Austin and Jim to come back, and because of that he wanders all alone into a trap.

That trap is a sacrifice ritual where the leader Brron challenges him to a duel, and every time Judai attacks one of his friends are sacrificed. Judai is forced to attack and each friend dies one by one.

Judai didn't want to attack, he didn't choose to sacrifice his friends, but he did make every decision leading up to that. The trap was easily avoidable if he 1) didn't leave his friends behind 2) went looking for his friends after they were left behind or 3) waited for Jim and Austin to come back.

Judai didn't mean to sacrifice his friends, but it's a result of his own bad decisions. It's the culmination of an arc where he's been selfishly taking his friends for granted. It's a consequence for Judai just choosing to recklessly barrel forward because he can't cope with his guilt.

Judai's lack of darkness of the heart really dooms him here, because he was blind to his own flaws until it was too late. This isn't even the part where Judai does the bad thing, Judai's careless actions lead to four of his friends dying but he doesn't learn from his mistakes. He snaps, hard.

Judai: But at least I avenged them. Sho I'm really glad you're alive. Sho: Those words... they're just lip service. Bro... bro, you're selfish. Before now, I thought of you as the sun. Someone who gave others energy and made the impossible possible. But, I was wrong. All you care about is getting your way. You don't care who you sacrifice. You'll do anything in the name of your goal. Avenging them won't bring back the people you sacrificed. You're just dueling to satisfy yourself. Judai: O'brien! Austin: I thought I told you to wait. Judai: Are you saying what I did was wrong? Austin: Think it over for yourself. Judai: Why? What did I do that was so wrong? I... I did the right thing! And yet... everyone keeps leaving me! What... What is wrong with me? Supreme King: Yuki Judai. To be willing to be evil to defeat evil. This world exemplfiies survival of the fittest. It must be ruled with power. Judai: Power? I don't have that much power... Supreme King: You hold the Super Polymerization card in your hand. Defeat the spirits that stand against you. Breathe their lives into it and complete that card.

After this point Judai decides to sacrifice everything else for power, and to complete the Super Polymerization card he's already sacrificed four friends four.

It's the culmination of an arc where Judai's only been praised for his strength and his ability to win duels. Where he constantly has been called to win duels to solve problems, until that stops working. When everyone is gone, all that's left is his strength. He had to keep winning to keep people safe, but even that wasn't enough, he was still missing something.

He knew he was missing something, that there was something wrong with him and he didn't know where to look.

Conclusion?

He needed power. If he had power, then he wouldn't have lost. If he had power then everything would have turned out alright. He didn't have the strength to carry everyone's burdens for them, that's why he lost, so what he needs is more power. He's been demanded to win, win, and win again so now winning is all that matters.

Now we have our second question: Is Judai's hero complex a good thing?

That's a definite no, because the pressure to always win, to always save everyone and carry their responsibilities has now completely broken Judai. To the point where he now believes that the only thing good about himself is that he's powerful, but he now is willing to sacrifice others to gain more power.

My name is the Supreme King.

Now here's the best part about Judai actively having a villain arc.

He does bad thngs. He does a lot of bad things.

It turns out when you're abandoned and left alone to suffer you do bad things, crazy that, I'm sure Yubel would have a lot to say about that.

Judai is also not being possessed in this scenario. They state it several times. You could say he's Shadow possessed in a Jungian sense. The supreme King is the symbolic embodiment of all of Judai's flaws that he's been ignoring until now. You could say Haou is representative of Judai's subconscious that has been repressed for so long until all those flaws finally surfaced, and that the Judai we see on a day to day basis is his ego, that the relationship between the two is a metaphor for conscious and subconscious.

Jim does a deep dive into Judai's mind, where we're shown a symbolic sequence of what the inside of his head looks like. Judai witnesses his friends appear in mirrors before they shatter one by one, all while he mumbles about how he needs to get stronger.

These are all storytelling devices to show Judai's fractured psyche, but Judai is still in control of his actions. Judai talks and responds to questions when he's addressed. Judai's friends confirm that it's still Judai, he's not a puppet or possessed.

Misawa says later to Judai's face that he and the supreme king are the same person. Judai later is able to use the Supreme King's powers and maintain complete control, because the Supreme King isn't a split personality. Judai even says when Amon is sacrificing someone he loved for power, that he was doing the same thing as the Supreme King, sacrificing everything for power.

We later learn that the ritual that sacrificed four of Judai's friends was a part of Yubel's schemes, but that's the only thing Yubel set up. Judai made every bad irresponsible decision that led to his friends being captured. Judai was the one who snapped and decided to complete Super Polyermization after it was completed. Learning Yubel was behind the sacrifice ritual doesn't take away any agency from Judai at all, because Judai is responsible for his own decisions.

What it does do is create another parallel between them, because we learn the reason Yubel set up the sacrifice was to make Judai walk the same path that they did.

Judai is hurt, abandoned and isolated and in that situation he ends up lashing out at everyone around him in a similiar manner to Yubel. When Judai is put through similiar trauma, he doesn't overcome it in some heroic way because he's an innately good person, no he succumbs and behaves in ways that are incredibly similiar to Yubel.

Even when Judai's friends selflessly try to help Judai, he resists them every step of the way. He ignores their constant calls to him, their comfort, and he even fights them. Judai is eventually reached by the efforts of Jim and Austin combined, but they both die in the effort. Judai is saved because Jim and Austin were way better friends to him than he was to them.

Judai is effectively snapped out of his destructive spiral, but he's left alone with the sobering realization of everything he's done and the blood of two more friends on his hand.

When it's time for our hero to finally face Yubel, he no longer has the moral highground. Now when he faces Yubel it's not as hero and villain, they're just two sides of the same coin. Two people who when they were abandoned, lashed out and hurt everyone around them.

The question is no longer can Judai save Johan. The question now is whether Judai can live with the guilt he's carrying within him, and for that matter can Yubel live with the guilt of what they've done now too?

By this point Judai's been completely deconstructed. He's no longer the hero of the story, he's just a flawed person who needs to fix his flaws. He has the choice to live with his mistakes, and the biggest conflict now is whether he's going to save his villain foil Yubel, or strike them down in order to save the rest of his friends (the three that are left).

This also creates a much more compelling reason for Judai to save Yubel. Not just because Judai is responsible for Yubel's creation, but because they've both made the same mistakes, they have the same traumas and the same scars. Jim and Austin were willing to risk everything to save Judai even when he didn't deserve it, and didn't want it. Now is Judai capable of doing the same thing, of reaching Yubel the way he was reached, not for the sake of saving the world but for helping a friend?

I just want to save my friend. That's all.

This is to me a very compelling setup for the challenge of whether or not Yubel can be saved. Judai's not really saving a helpless victim, he's not acting out of a sense of duty to sacrifice himself for the world, he's being challenged to save someone who suffers from all the same flaws that he does. Judai and Yubel are so similiar at this point it's really just Judai saving himself.

The Dark Deku Arc - Setup

This is the part where I'm actually going to praise MHA. Shocking I know. Season 1 and 2 of Yu-Gi-Oh GX are about 105 episodes in total. The Dark Deku arc begins at about episode 131 with Deku's decision to leave the hospital by himself to hunt down Shigaraki and AFO alone and try to understand villains better.

The 130 episodes up until that point are much better build up, than the first 105 episodes of Yu-Gi-Oh GX. To put it frankly GX is paced like ass. There's far too much filler, and because of that the plot points the anime is trying to make are delivered less efectively. In fact 105 is a good example of what I said above, that ideas are one thing and execution are another.

Season 2 especially is a season filled with good ideas and weak execution due to pacing. Here's one I use as a go-to example. There's a character named Edo Phoenix who's on a quest to find who killed his father. The ending of his plotline is he discovers that in a twist, the man who adopted him is the one who killed his father, and he's been encouraging Edo to investigate because it lets him spy on the police investigation and keep it off his tail.

That's a good twist - however that twist happens in the same episode that Edo's adoptive father is introduced. The audience is given literally no time to even get to know Edo's adoptive father, or get invested in their relationship so the twist doesn't hit at all. A better paced story would show Edo's relationship to his adoptive father early on, get you invested in them, only to pull the rug out from under you so you would feel the shock of that betrayal alongside Edo.

GX establishes its character cast, and yes the filler does give the cast time to breathe and they're all well characterized but because the plot around them is so poorly structured, none of the plot points really hit. Okay, Edo's adoptive dad is evil. Next! You can have good characters, but if you don't put them in a strong narrative framework that challenges them then those characters are just gonna kinda sit there.

The first 105 episodes of Yu Gi Oh GX does succesfully characterize most of the main cast, but it also feels like everyone's just goofing around. In comparison the first 135 episodes of MHA much more successfully builds an escalating conflict. Each new arc either introduces you to a new facet of the world, makes the amin characters more complex, or adds to the conflict.

We basically go from arc 1 "The hero high school is fun" to Arc 2 "The villains are a serious threat" to the Camp Arc "Oh shit, Shigaraki is learning and the villains are getting stronger."

When Bakugo is kidnapped at the end of the camp arc, the tension is ramped way up with the appearance of AFO, and All Might's retirement.

After that point we're introduced to the Overhaul arc, which not only again makes the League of Villains more complex and sympathetic, but also introduces the audience to All Might's more flawed side - the fact that All Might literally worked himself to death saving others and it still didn't work.

Then My Villain Academia -> The Villains are now a threat and they have an army.

Each arc builds on a previous arc, the characters and the world grow more complex, and it feels like you're learning about these complex issues alongside the characters. It just makes Yu Gi Oh Gx look like the silly card games show by comparison, by setting up this very layered world, and conflict, and heroes that challenge the protagonists on what it means to be a hero and what it means to be a victim.

Then all of that great setup.

We are side by side with the proagonist. We, like Deku now want to see if someone like Shigaraki can be saved. We, alongisde Deku want to better understand the villains and learn to see them as people. We want to know if the corrupt hero system can be salvaged.

However, these are too many questions so let's boil it down to two once more, because this is looking at Deku's character.

Deku and Judai are in some ways different as night and day. Deku is an introverted nerd and the victim of bullying, and he starts out with no quirk at all. Judai is a self-confident, charismatic prodigy who instantly seems to charm and befriend everyone around him. Deku desperately wants to be the hero and works his way up there, whereas Judai is just kind of thrown into the school hero because he's the best at dueling.

Judai is kind of a mix of Bakugo and Deku's traits, he's a self confident prodigy who always wins, but he's also someone obsessed with heroes and who has a hero-complex where he's continually forced to save others.

The Dark Deku arc, like the Supreme King Arc looks to take a darker, more introspective look at Deku's character, while also exposing Deku who is a sheltered kid to the a very grey on grey world. It also seeks to deconstruct Deku's suposed "hero complex". Despite the many differences between Deku and Judai I believe the two questions an be boiled down to the same thing.

Is Deku Selfish?

Is Deku's hero complex a bad thing?

These are the questions the series itself is asking in the deconstruction of Deku's character. Deku himself is asking if there's a better way to save villains tha just beating them down or outright killing them, but we'll discuss that later.

Just like Judai there is some setup before this to give a previously very one-note Shonen protagonist mor depth. Deku and Judai are both people who fit the determined, punchy, solve everything fist fight shonen protagonist to a T, on top of being the one to always show up to fight for their friends. Just like in the beginning of season 3, we do have some hints before this that there's something wrong with this attitude. That there's something about Deku that's not entirely there.

There's a flashback of All Might talking with Bakugo where Bakugo discusses that the fact that Deku never takes cares of himself or factors himself into the equation when he always puts others first deeply bothers him and there's "something wrong with it" that's made him always push Deku away.

This flashback also leads into a scene where Bakugo pushes Deku out of the way of one of AFO's attacks, telling him to "stop trying to win this on his own." In an attempt to make Deku see that he's not fighting alone this time.

Deku has also been warned repeatedly about the way his power destroys his own body when he uses it, warnings he's repeatedly chosen to ignore. Saving others isn't just a goal for Deku, you could arguably say it's a method of self-harm and that's what unnerves Bakugo. Bakugo even gave a similiar speech in the past, about how someone like Deku shouldn't take all of the bullying that Bakugo has given him over the years and still try to be his friend afterwards. At this point it's not really like Bakugo's done anything other than tone down the constant insults a little bit, he hasn't apologized or anything but even this early in the manga Deku has a tendency to just let Bakugo's treatment of him go. It's not like they were super best friends forever before the bullying started either despite what the shippers might tell you. Bakugo is saying it's weird that this kid just takes it, and takes it, and takes it without fighting back like he doesn't care about how people treat him and Bakugo is right... that is weird!

Deku either has such low standards for how he's treated that he just lets Bakugo get away with it, or he just doesn't hold a grudge when he is mistreated because his pain and his suffering just always matters less. Either way it's not healthy, and it could be indicative of a deeper problem hiding behind the surface.

Either way there's setup here, because on one hand you have everyone and their grandma praising Deku for his "drive to save others that eclipses all common understanding."

While at the same time he's criticized by Bakugo for having no regard for others. This could be the setup for the character trait that led to his earlier success leading to his downfall later. In Judai's case, everyone praises his purity of heart, but then that purity is later criticized as childishness, naivete and a refusal to grow up.

As for Deku...

How can you protect others if you can't even bother to protect yourself? How can you save others if you can't save yourself? That's the question Touka asked of Kaneki in Tokyo Ghoul when she rightly called out his desire to protect everyone at the Anteiku Cafe as just a roundabout way of getting himself hurt by acting recklessly.

In Kaneki's case he's not trying to protect anybody, he's just picking battles against the doves and getting himself hurt. He's acting out a hero complex in the sense that if he feels like he didn't fight his friends battles for them like Judai then he wouldn't have any friends to begin with. That's why Touka also says "Besides that, everyone doesn't belong to you. You have no business protecting us."

Is Deku fighting for the same reason? Does he harm himself to protect others because he views himself to be worthless and the only way to demonstrate his worth is try and fight to save others?

We don't get an answer for that question. Judai thinks duels are fun, and he's really good at them, and because he's good at dueling he's made friends. He think to keep those friends he has to keep dueling for the sake of others.

Deku's not motivated by the idea of protecting or keeping his friends, that's a secondary motivation. All we have on Deku is that he feels a strong desire to save others, and that he worshipped heroes like All Might growing up but has a naive idea of what a hero is supposed to be. However, his lack of motivation could be the "something that's missing" just like Judai has.

The GX writers did some hardcore digging into Judai's character by focusing on how shallow he was in motivation compared to everyone else, and showing that to be a symptom of his childish naivete.

There's also the potential parallel between All Might and Nighteye's breakup, and Deku's decision to leave all his friends behind to hunt for Shigaraki himself.

Even if Deku doesn't have a deeper motivation than just "an unnatural drive to save others" then you could show the effects of Deku walking down the same path that All Might did, the belief that he has to be the one to save everyone singlehandedly and if he rests for a single moment than someone might die, leads to him not only destroying his body, but also doing permanent damage to all of his social relationships.

Even if Deku's motivation isn't too deep, you could still have the traits that led him to earlier success now driving him to ruin as the story punishes Deku for his excessive selfishness.

This is also where we finally get back to Deku's goal of understanding Shigaraki, and contemplating whether or not it's possible to save villains without killing them.

I draw a parallel between this and Judai's enemies calling him out on lacking "darkness of the heart" and that without understanding that darkness he can't win.

Judai's lack of darkness of the heart means two things, he's not mature enough to understand the reason why his enemies are fighting, and he's also not mature enough to se the darkness in his own heart which is why he ends up blind to his own flaws and making pretty severe mistakes later on.

For Deku, it's mainly a lack of understanding of the motivations of the villains he's fighting again, villains he's only ever really beat down with his fists until now.

However, for Deku lacking darkness of the heart you could also re-contextualize that as meaning because of his idealization of heroes he's never once looked at the darker sides of hero society that might have driven people into becoming villains.

Deku's lack of inner darkness may just come from the fact that compared to the villains he's fighting against, he's gotten to live a pampered life. Without understanding that darkness, he can't be a full person because he'll still be a naive sheltered child, and not an adult wise to the way the world works and the moral greys he inhibits. Either way, it's just as necessary for Deku to gain an understanding of "Darkness of the Heart' as it is Judai.

So here's all the setup for the start of Deku's Dark deconstruction arc. As different as these characters and scenarios you can still boil it down to those three narrative questions about Deku / Judai, is there behavior selfish? Are there hero compelexes a good thing? Do they need to understand darkness of the heart?

Before moving on I'm going to summarize Deku's setup as thus:

Deku's actions are selfless.

Deku's motivations are also selfless (a desire to save others).

Deku does not benefit from saving others in any way, if anything he actively harms himself in order to do so.

Bakugo finds this behavior incredibly disturbing.

All Might destroyed his body and burned all bridges because of similiar flaws to Deku.

So the answer to the first question is Deku selflish? No. Is his hero-complex a bad thing? Potentially.

While Deku himself decides that he needs to understand darkness of the heart in order to better understand villains. Deku is actually more set up to contemplate darkness of the heart than Judai is, because Judai charges into the dark world blindly with only the motivation of saving Johan not even caring for Yubel, while Deku has the explicit motivation of trying to understand the little boy inside Shigaraki.

DEKU LEFT THE HERO ACADEMY

Deku begins the arc by leaving alone to go searching for Shigaraki, with hand-written letters addressed to all of his friends that tell the truth about One for All and also say Goodbye. He makes the deliberate decision to leave them behind so they don't get targeted alongside of him. It's a pretty classical superhero motivation, I need to cut myself out of my loved ones life in order to protect them. Of course this sort of ignores that everyone in his class has super-powers too, but you know heroes they're all such drama queens.

Is this selfish behavior?

This is going to be the only time I'm going to solidly answer yes. Deku clearly did not take his friends feelings into account. His desire to protect them, is more important than their own agency. They also might want to fight alongside him, they'd be upset if they saw him die or get hurt trying to protect them. Deku thinks of his own feelings of wanting to keep them safe and not being able to handle the emotional burden of protecting him, more than he does their own personal feelings.

This is also something that All Might did they permanently burned all of his bridges with his sidekick and friends, and deeply hurt his sidekick who was just asking him to take a break so he did not get himself killed and quit because he didn't want to watch All Might slowly kill himself by inches.

Deku is being selfish here, and later on when he does face his friends he even acts pretty condescending belittling them and insisting they can't fight on their own or keep up with him.

However, I need to ask a secondary question.

Is there any lasting consequences for this selfish behavior?

Besides the fact that it hurt his friends feelings for a little bit, no. I spent a much longer time covering this in Judai's sections because Judai's selfish behavior led to character conflicts. Judai disregarding his friends led to everyone starting to resent him in the Dark World, and their once tight-knit friend group further falling apart.

Judai on three seperate occasions makes impulsive decisions to run ahead without consulting with the group. The second time he outright lies to the group and sneaks ahead without them. THe second time all of his friends are captured when they go after him and try to follow him to give their support because they're worried about him. The third time he makes the decision to run ahead, he knows about the danger they're in and the risk of getting captured and he just blatantly ignores them. When Austin notices they're missing Judai doesn't even go looking for them because they're not a priority at this point - saving Johan is.

This is something that has very real and lasting consequences in the story, they're captured because of his recklessness, and sacrificed in front of his eyes. Even though they technically come back in season 4, the trust between Judai and his friends is all but gone and he's alone for a lot of Season 4.

Judai's decision to abandon his friends has direct and lasting consequences. He is being punished for his hero complex. Running ahead, and fighting alone against the bad guys is what Judai has always done and what's worked before, but now in a more complicated world it's not cutting it and Judai is being challenged for his flaws.

Deku hurts his friends feelings a little bit, but even in that case the focus is on how sad it is for Deku, how hard it must be to be a noble hero fighting alone.

Deku's Mary Jane and Spiderman bullshit never impacts his friends directly, other than the fact that they find it slightly condescending. His "I need to keep secrets from my loved ones attitude" is challenged because his friends want to fight alongside him, but there's never any narrative punishment delivered to him. It's just solved with one fight scene and a character holding out their hands. Whereas, the consequences for Judai's rash actions last two seasons.

I call it "Mary Jane and Spiderman" Bullshit, because Spiderman keeping his identity a secret from all his loved ones is a big conflict in the comics. Something that got Gwen Stacy killed, because Peter Parker never told her his identity in order to protect her, and then that just ended up with Norman Osborne finding out about her anyway and kidnapping and killing her.

You might have heard of the "Death of Gwen Stacy" it's a pretty famous moment in comics. It's also a case where it shows that the Hero's failure to communicate honestly with their loved ones in the name of "Protecting Them" can actually get them killed.

There's even consequences in MHA itself for heroes choosing to sacrifice their personal lives to help complete strangers. Shigaraki literally made a whole speech about it. Kotaro Shimura is traumatized for life over his mother's decision to abandon him instead of giving up on being a hero. Nana Shimura believed she was doing something selfless in sending her child into foster care to keep him out of AFO's clutches, but that was shown to be wrong as AFO just found Kotaro's household and then destroyed him later on in adulthood anyway.

So in the story we are shown scenarios where choosing to abandon your loved ones in the name of "protecting them" can have disastrous and lasting consequences, but as for Deku himself, the decision to leave the school has basically no consequences whatsoever.

Well, Deku making the decision to fight alone is something that might lead to some consequences. After all, Judai's breakdown came about because he always felt the pressure to fight alone and carry everyone's weight on his shoulders until he couldn't.

Perhaps, with Deku fighting alone to protect everyone we'll reach a similiar breaking point. Just as Judai couldn't handle carrying everyone's burdens, looking for Johan, and leading his friends into the Dark World all that the same time and eventually broke down maybe we'll see Deku break down because he just like All Might can't carry the burdens of an entire nation - oh wait nevermind he's working with the Top 3 Heroes.

Even the premise that this is Deku leaving the school, to become something like a vigilante wandering the countryside trying to fight AFO on his own is just incorrect because Deku is receiving government assistance right now.

In the Dark World it was really just Judai and his friends, so every single bad decision Judai made had consequences because they were well and truly alone. Deku has backup so he's not even really "alone" in the arc that's supposed to be about him fighting AFO and trying to understand Shigaraki alone.

ALL YOU'LL FIND IS BLOOD AND VIOLENCE

Let's briefly focus on questions two and three, is Deku's hero complex bad, and does Deku need to understand darkness of the heart?

Judai's hero complex was based on the idea that if he wanted to have friends he needed to fight for them and solve their problems for them.

Judai got in such an unhealthy negative feedback loop, that he had to carry his friends burdens in order to maintain his friendships with them, but at the same time he couldn't receive any help from them because he made their friendship all about him carrying their burdens. He was operating underneath an amazing pressure to always win until he lost. The very thing he did to try to maintain his friendships, keeping his friends at arm's length and fighting alone is exactly what ends up driving them away and leaving him alone.

But, still...! They're all... They're all gone. There really was something missing in me. But what is it? What was missing? What should a duelist burden themselves with?

Judai paradoxically fights alone in order to keep his friend group together, which only ends up with him losing four friends and being abandoned by the rest when they're disappointed for him in his selfish behavior. Judai screams out why, realizing he did something wrong here, that something went wrong because he's been winning duels, he's been fighting the same way he did before only to end up with the worst option possible. The realization that he is truly alone breaks him down entirely.

Judai's hero complex unwravels when simply charging ahead to fight doesn't work for him anymore, because the situation becomes more complicated than that. Darkness of the heart can mean many things. Judai not understanding his own personal flaws. Judai not seeing how his flaws are affecting others. Judai not looking at other people's emotions, he doesn't hear or respond to criticism when his friends start trying to tell him how is selfish decisions making is making them feel.

I can't just stay and wait. All this time I've run on instinct, never second-guessing myself. If I just stand still now... I'm sure I won't be able to start running again. And I won't be able to get to Johan.

Judai's hero complex has a clear source - he believes he has to keep running ahead and fighting for his friends the same way he always has in order to keep those friends and if he stops he'll lose everything / succumb to the guilt he now feels about being uanble to save Johan. His Hero Complex also has clear consequences, him running ahead without thinking gets all of his friends kidnapped and used in a sacrifice ritual that could have been avoided if he had made different choices.

Spiderman kills Gwen Stacy because Peter Parker deciding to not tell her about his secret identity to protect her backfired and made her an easy target to the Green Goblin.

Heck, Spiderman's entire character is about how the burden of being Spiderman and his Hero Complex constantly sabotages any attempt he makes at having a personal life. Miguel O'Hara's catchphrase in the incredibly popular Spiderman movie is that "Being Spiderman is a sacrifice" and he's not wrong either.

SO, is the narrative punishing Deku's hero complex in any way?

Well, the one warning he did receive that if he kept fighting he'd lose permanent loss of his arms turns out to not matter anymore because his body is just stronger now.

So, even the phyiscal toll of fighting alone that's a consequence for Deku doesn't actually apply here.

I keep talking about consequences but what do I actually mean? Am I talking about strictly punishment? Do bad things need to happen to characters in order to get their lessons?

Not necessarily.

When I say "consequences" I mean in terms of actions always having consequences in a story. The best stories are succinct, that means you basically cut down in as many frivolous details in a story as much as possible so everything that happens onscreen is something that matters and contributes to the whole. Therefore, every action should have a consequence directly seen onscreen in story. Stories are all actions and consequences, the choices the characters make should have direct impact on the plots and the other characters because it makes those choices seem like they matter.

If the story constantly draws attention to the fact that Deku is afraid of ducks, but the story takes place on the moon and there are no ducks living on the moon then that's a wasted plot thread because there are no consequences. If a character does something bad, other characters should discuss it, or it should negatively impact them in some way.

When Judai decides to run ahead without all of his friends for the first time after they all agreed on a plan, the result is the next episode they all start talking about their shared doubts with Judai when he's not around. If they all just swept Judai abandoning them under the rug, then Judai running ahead and leaving the others alone doesn't feel like an impactful character flaw.

There's no lasting consequence for Deku's hero complex. It doesn't drive him to any kind of breaking point like it does Judai.

I think the reason why is because there's no real moment of failure for Deku. When he tries to ask Muscular why he fights, and Muscular rejects him and says that he was just born evil and has no deeper motivations, Deku's not frustrated at all.

Deku who feels a "unnatural desire to save others" isn't really bothered by the fact that Muscular insists that he can't be saved and that they can only fight. Despite this technically being a failure, Deku has failed to talk a villain down, failed to find a way other than fighting and also failed to understand the darkness in someone's heart it's of little consequence because it's not framed as a failure.

Deku just punches Muscular, back to the drawing board.

There's another manga called Choujin X running right now, where the main character is on a similiar quest trying to see if there's a way they can save the big bad Sora Shihouhin, and when he is forced to fight against a villain who won't back down, de-escalate, or listen to reason he has a complete emotional breakdown.

This is the reaction of someone who's genuinly invested in the idea of saving the villain, and frustrated with the reality that he might not be able to save her, that he can't talk to the villains or convince them to back down. Tokio's not even characterized by an unnatural desire to save others like Deku is, so why is he the one breaking down and not Deku someone apparently so selfless that he wants to save the mass murderer that's trying to destroy society?

If Deku's desire to save others is so strong why doesn't he show frustration at being unable to talk down, or understand Muscular?

Judai is stuck in a negative feedback loop where he's forced to fight for others, because he believes he has no worth to his friends otherwise. All we're told of why Deku feels the need to save everyone around him is that he's just like that, he just feels like saving everyone no matter who they are the moment they come into view.

If we're choosing to characterize Deku that way, then number one he should be attempting to save everyone, and number two the stress of having to save everyone is something that should get to him. His "Hero Complex" should be what's breaking him down at the moment. The unnatural desire to save everyone around him that led him to so much success should be what's punishing him this arc.

Judai felt pressure from two aspects, first the pressure to carry everyone's burdens, and second the lack of understanding of darkness of the heart. Unlike Judai who doesn't want to understand darkness and who avoids it as long as possible, Deku goes into this arc actively seeking to understand how his villains think.

Deku and Judai also suffer from a lack of darkess in their own hearts. This leads to them having empty motivations. Judai has a childish desire to enjoy fun duels. Deku has a childish desire to save everyone. Neither of them have tried to grow or change or even question those motivations in any way and because of that they're stunted people.

Judai doesn't know why he fights. He doesn't question why he fights. He just takes on the burdens of others to give him something to fight for. This all together leaves Judai blind to his own personal darkness, and also because of that blindness he can't grow in any way because he never evaluates himself, he never looks at himself and tries to change.

When he's on his knees and at his breaking point he screams at the top of his lungs, "WHY? WHAT AM I MISSING? WHAT DID I DO WRONG?" simply because Judai's never thought about these things.

Deku's asked these same questions both in the Dark Deku arc, and hundreds of chapters later he's asked what he's planning on doing as a hero in order to make things better and Deku never materializes an answer.

Pre-Dark Deku Arc, during Dark-Deku Arc and Post Dark Deku arc, Deku always solves his problems by recklessly jumping in and saving others. There's never any point where he's punished or criticized for this behavior in any significant lasting way. He never has to self reflect and develop a reason on why he wants to save others, or eve think about how he's going to save others, he can just keep acting as the rash, impulsive hero.

Judai and Deku are both characters who are empty, and lacking in motivation but Judai is ruthlessly criticized for that until he reaches his breaking point and is forced to look at his motives.

This once again comes from a lack of failure on Deku's part. Deku never fails the way that Judai does. There's a scene where you could have easily had Deku fail. The entire Nagant vs. Deku fight where Deku fails to give her any substantive answers to his questions.

Imagine if Deku's simple philosophy of always extending a helping hand failed here. Imagine if Deku actually got deeply ivnested in the idea of saving Lady Nagant, and did his beset to talk and reach out to her but his answers weren't enough and because of that she just chooses something like suicide. Imagine he has her by the hand, and she's dangling off of the roof and he thinks that his impressive move to save her should have been enough - he's reached out a hand like always. He thinks this should have won her heart over, by showing her that someone still cares in all of her despair.

Then, Nagant in one final spiteful move lets go. The person he heard her entire backstory, the person maybe he once was a huge fan of her when she wasa hero, the person he wants to save the same way he wants to save Shigaraki chooses to let go and fall to her death because dying would be better than living in whatever kind of corrupt world that Deku is trying to build.

This could be Deku's Gwen Stacy moment. Spiderman carelessly webs Gwen Stacy whe she's falling to catch her and for a moment he thinks he's saved her because he's overconfident and has caught people falling like this a thousand times, only to find out he's snapped her spine. His overconfidence, his hero complex making him believe everything magically would work out led Gwen Stacy to her death. This could show the simple act of just offering a hand out to someone in need isn't enough, without empathy and understanding.

Instead, AFO just blows Nagant up in Deku's face.

Except, that isn't even a failure bcause Nagant turns out to be just fine! There's no point in blowing up Nagant except for the spectacle of it, because she turns out to be fine five minutes later and even shows up to fight in the next arc.

There's no consequencs to anything that happens in this scene. Deku doesn't suffer any consequences for being blind to the faults of society. (He's working right alongisde a killer cop just like Nagant and he doesn't even care.) Deku isn't forced to reflect on what saving people or making society better would even mean. He also isn't punished for his lack of understanding the way that Judai is.

Afterwards, Deku denies help to a very mentally-ill Overhaul, who is apparently not one of the villains that Deku wanted to save. There's a whole buch of asterisks on that "Deku wants to save everyone***" goal. This also isn't framed or used to paint Deku in a bad light because Overhaul is unworthy of salvation in Deku's eyes for hurting Eri.

Is this action part of an arc? Is Deku reaching his limit with trying to sympathize with villains only to see people like Overhaul and Muscular fighting him every step of the way and telling him they don't want to change?

Nope, this scene is never brought up again.

Deku never fails, and he never does anything wrong. Even when there are situations where you could argue he does do soemthing wrong, like denying the armless, mentally ill Overhaul help - he's not painted as being in the wrong.

The entire arc is supposed to be about criticizing the protagonist for their hero complex, and their lack of understanding of the darkness of the world but for Deku there's no criticism to be had here.

Compare this to the sacrifice ritual in the Supreme King Arc, where not only does Judai fail to save his friends, but the friends that survive ruthlessly tear into him aftewards for his selfish behavior. THe actions of one protagonist matter, have consequences in the story and are criticized. The actions of another protagonist have no real consequences and are never criticized.

The whole mansion blows up and... nothing happens. No one's injured in the explosion. It may as well have not happened in the story because there are no consequences for Deku just continually choosing to blindly run ahead like his hero complex tells him to.

There's evena moment where Deku winds up in a similiar situation to the dark ritual. After receiving information from Nagant, he blindly wanders into a mansion in Haibori woods believing it to be AFO's base, only to find out it was a trap and AFO was waiting for him to blindly charge in all along.

THAT'S WHAT MAKES US HEROES AND VILLAINS

This is where I'm going to talk about another big similarity between Deku and Judai, and also the biggest point of divergence in the Dark Deku and Supreme King Haou arcs.

Deku and Judai are both character foils with Shigaraki and Yubel respectively. This is where I'm going to praise MHA again, surprising everyone.

The foiling between Shigaraki and Deku is masterful. They both started out in relatively the same place, as boys with dreams to become heroes who were softly told no by their parents. Tragedy struck Shigaraki and he killed his family on accident and wound up alone wandering the street for days until he was found by AFO.

They're both the students of the greatest hero and villain of the last generation. They both end up being surrounded by a group of close Nakama that they want to protect. They're both continually challenged to grow up, and show how they're going to be better than their predecessor for the hero and villain sides respectively. They both have to prove they are worthy successors. Shigaraki has all the heroic spunk and determination that Deku has but on the villain's side, and while Deku loves heroes, Shigaraki is hero society's critic wants to bring down the hero system that didn't save him.

You get the feeling that Shigaraki really is Deku just in a different situation, a same person on the opposite sides of the conflict kind of character foiling.

As the biggest Yubel stan here, in some ways the foiling for Shigaraki works better than the foiling for Yubel because Shigaraki isn't just Deku's foil, he's the foil for all of society. Yu-Gi-Oh Gx takes place in a society run where everything centers around card games, it's not really that deep. In My Hero Academia you have that 100 episodes of great setup where Deku is not only learning to look at the darkness within himself, but also the darkness within hero society around him.

Judai's narrative as much as I love it, is entirety about Judai.

Not only could Dark Deku arc develop Deku's character, it could also say something deeper about the world it's taking place it, because Deku has all these connections to Shigaraki, who also kind of represents the orphaned boy failed on all levels by the society around him.

Shigaraki is the shadow of -> Deku, but also Shigaraki is the shadow of -> all of society.

Yubel is the shadow of -> Judai, and only relates to Judai's personal growth.

Yubel is Judai's personal villain, and was created by his actions as a child. His decision to abandon Yubel into space, led to Yubel being tortured and their later madness.

Yubel is also Judai's shadow. They carry all the same flaws, but those flaws are obvious in Yubel and repressed in Judai. Yubel's belief is that Judai is someone who purposefully enjoys hurting their friends, and that's how he shows his love. While that's twisted it's not hard to see how Yubel came to that conclusion. After all, Yubel loved Judai so much only for Judai to abandon them and turn a blind eye to their suffering. In the Dark World, Judai abandons his other friends continually in order to search for Johan, and they wind up suffering too.

While Judai doesn't sadistically enjoy hurting others as Yubel put it, there's an element of truth to Yubel's criticism. Judai does abandon people, Judai isn't as empathic as he seems to be. When Judai is subjected to the same kind of isolation and abandonment that Yubel has endured for the past ten years, Judai loses his mind a whole lot quicker and starts lashing out at everything around him the same way Yubel has. Judai without the love of his friends starts to hurt everyone around him in his lashing out, the same way that Yubel desperate for love starts to inflict pain on the people she loves. Even before the ritual happened, Judai was unwittingly hurting his friends with his own selfish behavior.

Yubel's stated criticism is "of Judai is "Anguish and sorrow born from loneliness. That is the nature of love as you taught it to me" and further beyond that "When you forgot about me, I suffered. It's hot. It hurts. I am in pain. Why? You know how much I love you? Why did you do this to me, Judai? In that moment I realized that was how you showed love. Because you loved me, you hurt me and made me suffer."

That sounds crazy, but hasn't Judai been hurting the people he loved for his own selfish reasons this entire arc? Is it that crazy then to conclude that neglect and abandonment must be how Judai treats everyone he loves, so surely he loves me.

One of the biggest criticisms of this arc is how Judai's behaviors impact his relationships, so of course his most personal villain and foil is his jilted ex nonbinary dragon lover. On a less joking note, when Yubel was displaying troubling behavior as a child, Judai's first response was to abandon them. Which is ironic for someone like Judai so paralyzingly afraid of being abandoned that he became everyone's workhorse and worked himself to death solving their problems for them. Who when abandoned by those friends finally, snaps just as hard as Yubel did when they were abandoned.

Do you see the parallel I'm drawing here? Judai is slotted into the spot of the protagonist who's friends with everyone he meets, who loves and fights for his Nakama. Yet under closer scrutiny he's shown that he doesn't really understand what love or friendship is or how to give and receive love from others in a healthy way. His antagonist is his former childhood best friend, who is obsessed with love and demands that Judai love them back. Judai's lack of understanding of relationships and love takes a dark twist with Yubel, their shadow, foil and antagonist.

These are once again very personal challenges to Judai, society doesn't really factor into this equation. Though, Judai is somewhat challenged as a hero because there's an irony to Judai plunging into the world to save his best friend Johan who he's known for like three weeks, but not really lifting a finger to save the antagonist of the arc Yubel who he's known since childhood and is personal responsible for putting through torture.

That hypocrisy there too, is a personal challenge to Judai that paints him in a less heroic light. He wants to save Johan and ignore Yubel because it's easier, because saving Johan relieves him of his guilt. He doesn't even know what to do about Yubel, so he doesn't try and falls back on his previously established behavior of playing the hero.

The hero is really just a mask for Judai at this point, something the story has ripped right off of his face by the time it comes to face Yubel.

There are two ways in which Yubel serves as an ultimate foil to Judai.

Yubel acts like a callout post to all of Judai's flaws

Yubel represents a dark path Judai could have taken.

This second one is what Shigaraki and Deku have in Common with Judai + Yubel. There's something deeply tragic about the idea that while Deku was making friends, getting taught by a loving teacher like All Might, Shigaraki was all alone being pushed by a ruthless manipulator like AFO into becoming the worst villain.

Judai and Yubel's lives follow the same tragic parallel path. They began in the same place as childhood friends, but after abandoning Yubel, Judai spent the next ten years growing up, making friends in a healthy and safe envirnoment while Yubel the one who was abandoned was alone in space desperately crying for Judai to come save them only to be ignored because Judai has long forgotten them.

However, there's a striking difference there too. Yubel is created directly by Judai's neglect and actions. Whereas Shigaraki is created by the neglect of all of society, it's not Deku's fault directly.

#1 Shigaraki acting as a callout post to Deku's Flaws

However, this is where Shigaraki's callout post comes in. Shigaraki gives a long speech on how the existence of heroes itself, creates villains like him.

"You heroes pretend to be society's guardians. For generations you pretended not to see those you couldn't protect and swept their pain under the rug. It's tainted everything you've built. That means your system's all rotten from the inside with maggots crawling out. It builds up little by little, over time, you've got the common trash all too dependent on being protected. And the brave guardians who created the trash that need coddling. It's a corrupt, vicious, cycle. Everything I've witnessed. This whole system you've built has always rejected me. Now I'm ready to reject it. That's why I destroy. That's why I take power for myself. Simple enough, yeah? You don't understand because you can't understand, that's what makes us heroes and villains."

To break it down simply, heroes look away from the faults in their society, they intentionally ignore the people they cannot save, and when those people turn into villains the heroes beat them down hard. The villain attacks then convince the common people of the need for heroes, and the cycle perpetuates itself. This is all powered by the people's blind, uncritical faith in heroes.

Deku is a person who has that same blind, uncritical faith in hereoes, and until this point has never thought of Shigaraki as anything more than a villain to be punched until he stops. Which is why this is still a callout post that applies to Deku, because Deku's blind admiration for the Hero System is part of the problem that enables the very flawed hero system.

Deku does not understand darkness of the heart, therefore Deku does not understand that heroes could possibly be bad, and he could possibly be supporting a bad system until he's slapped in the face with it.

However, is there a lasting consequence for Deku's blind support of the hero system?

Nope.

I just described up above what could have been a consequence, if Lady Nagant refused to have faith in Deku since he didn't back his words up with action.

Deku also clearly does not want to break away from the corrupt hero system that created Shigaraki, because the heroes that he brought along to fight with him are Endeavor, Hawks and Jeanist, a child abuser, a state sponsored murderer, and a guy who makes bad puns. He doesn't change any of his bahavior that enables the corrupt system to stay in power.

Not teaming up with the Top 3 heroes, and deciding to go full vigilante would have at least have been breaking away from that system.

This circles around to a big underlying problem in this whole arc in that Deku isn't really doing anything different from what he was doing before, and he's not punished for his character stagnancy either.

So we're left with.

#2 Shigaraki represents a dark path that Deku could have Taken

This is where Judai / Yubel succeeds and Shigaraki / Deku falls flat on its face.

When pushed to his absolute limit after failing repeatedly, Judai snaps. With no friends left he decides that all that matters is power. This path seems natural for him because we've already seen what being abandoned and left alone can do to a person and how it twisted Yubel. The story hints again and again at Judai's blood knight tendencies, and that he thinks the only thing he has of value to offer others is strength by fighting for them.

He loses his friends and the fighting is all he has left.

At the point of despair he decides to just embrace power. If he cares about nothing more than strength, at least that will give him some sense of control over his life after the out of control tragedy that happened to him.

"Yuki Judai. In order to defeat evil, one must become evil. In a world with the law of the jungle at work, one must rule with power." "Power? I don't have that kind of power." "In your hand lies the super polymerization card. Defeat any spirits who may oppose you, and combine their lives into it to perfect the card."

Supreme King is just a villain persona that Judai adopts to as a protetive blanket for all the hurt and pain they've gone through, just like ding, ding, ding, the villain persona Shigaraki Tomura is for Shimura Tenko.

Judai snapping under such intense pressure shows us that if even the faultless hero can snap, then how much can we blame the villain for snapping under similar circumstances? Maybe the reason both the hero and the villain fell is because they're both equally human and to fall down is human.

Deku never falls down as hard as Judai does. He doesn't even fall down and scrape his knee. There's no instance where he fails to save anyone. There's no instance where his actions hurt anyone. There's no instance where he takes things too far and hurts a villain. I kow it's unlikely for Deku to turn into a villain, but he could have at least gotten so frustrated he turned into a punisher style vigilante! Is that too much to ask?

There's not even a single moment where Deku goes too hard in a fight and injures or even kills a villain. They could have pulled an "I thought you were stronger" moment like in Invincible.

I don't know why this is called the Dark Deku arc because there's no darkness in Deku's heart for him to exploit, nor is he actually called to better his understanding of the darkness in others hearts. Judai understands Yubel's darkness because by the end of his personal arc he's been there, he's not the hero he's the atoner. He can either punish Yubel, or hold a hand out to help Yubel atone.

Deku's arc might as well be called the "My Little Pony Friendship is Magic Arc" because he never does or confronts anything dark. His worst crime is not showering. All that isolation and his repeatd failures in hunting AFO down should have worn Deku down, but it didn't because he's just that special of a boy!

Deku's hero complex also is completely uncriticized from beginning to finish. Judai's hero complex is an unhealthy behavior that utterly destroys him. Deku's hero complex is a job interview flaw.

FRIENDSHIP IS MAGIC

Just to hammer my point in I'd like to compare these two scenes. One is in the middle of the Supreme King Arc, the sacrifice ritual scene where all of Judai's friends are blaming him for the fact that they're about to be sacrificed while he's still trying to save them.

The second is the climax of the Dark Deku arc, where all of Deku's friends are showing up to fight him and convincing him to accept their help.

Just look at how vastly different these two shows treat their shonen protagonists when it comes to his flaws.

For the ritual sacrifice scene. This is immediately after Manjoume wakes up to find that he has been chained and kidnapped with Judai standing right there.

Judai: Sit tight! I'll save you soon! Manjoume: Wait, is he dueling? JUdai you damned idiot! Weren't you going to save Johan with us!? Getting yourself all flared up. You didn't even stop to think about us at all, did you? Judai: That's not it. Manjoume: That's just how you are! You were the only one in your kingdom from the get-go. We were the idiots for getting all motivated with you and feeling some sense of friendship with you being like that!

Then Judai watches helplessly as Manjoume dies. His other friends don't fare much better.

Kenzan: Big Bro? Why'd you want to save Freed's comrades when it meant sacrificing us-don!? Judai: You're wrong. That's not it. Fubuki: It's painful. This pain isn't just physical. It's the pain of a friends' betrayal that I have tearing my soul. apart. Asuka: I'm being betrayed and sent away by you. To think that I'll have to bear a sadness like this.

All of Judai's friends die spitting on him and telling him what a terrible friend he is and that this is all his fault. Which it is, because his decision to abandon them got them captured and led up to the sacrifice ritual.

Now, what scathing criticisms do our heroes have to give Deku after he left them all behind to fight Shigaraki alone?

Denki: Midoriya! We get that all for one is really importnat but you got something even more important in your life! Me and you we aint'g otta ton in common, but you're still a friend! Even if we gotta force this friendship down your throat. TodorokI: What a look you have on your face. Is this resposnibility so much that you can't let yourself cry? Seems like a burden you should share with the rest of us. Uraraka: The thing is Deku, we don't want to be protected by you and reject who you are and what you're doing, we just want to be with you (this part is narration).

Deku is told that none of his friends are mad, they want to be by his side no matter what, and that it's okay for him to cry.

I should also mention how underdeveloped this supposed nakama group is in the manga itself. The entirety of Season 3 of GX is tha the bond between Judai and his friends are more shallow then it appears, but he's also spent two whole seasons bonding with a group that consists of: Asuka, Sho, Kenzan, Fubuki, Manjoume. That's six people total including Judai who serve as is primary friend group. Their friendship is more unhealthy than it appears, but Judai has spent the past two seasons hanging out with one small friendgroup.

Meanwhile the entirety of Class 1-A shows up to tell Deku how much they love him and how much he means to them, and Deku's hung out with maybe like... four of them?

You have one bond shown to be how shallow it is, and one shallow bond treated like it's the deepest, most loving friend group in all of fiction. Deku doesn't even receive some lgiht criticism for how inftantalizing it was for him to abandon them for their own protection, because no one resents Deku or is capable of holding any negative or critical emotions towards him whatsoever. He's just told how much everyone loves him and wants him to come home.

And yes, Judai also does get two characters sacrificing themselves to try to reach him when he's the Supreme King.

However, as I stated above Jim sacrifices himself to help Judai because that's who JIm is as a person. Austin does it after Jim fails, both to honor his friendship with Jim, and also because of someone who got scared and ran he feels like he has to confront the darkness of the heart.

Jim and Austin O'brien's sacrifice is also a sacrifice. They died trying to save Judai, and Judai has to wake up with the knowledge that not only did he kill a bunch of people in his quest for power, he killed two more friends who were only trying to help him.

At the end of the arc, Judai has woken up with the knowledge that he has done bad things that can't be taken back and he's barely better than Yubel at this point.

At the end of the Dark Deku arc, Deku gets a speech from Uraraka about how amazing and selfless he is, and how he never gives up and how he always pushes forward, and how everyone at the UA shelter should appreciate him more.

The Supreme King arc exists to criticize Judai. The Dark Deku arc does nothing but flatter Deku from beginning to end.

Judai's hero mask is ripped off and he's forced to be a person. Deku's hero mask stays on, his hero complex is unchallenged, and he's praised for being teh greatest hero evarz.

I often get accused of not liking MHA simply because I expect it to be a different story than what it is. That I want it to be darker, when it's a more optimistic shonen manga.

However, here's my secret. I hate edgy superheroes. I don't like watching stuff like The Boys because it gets too dark for me. The oly reason I read invincible is because my friend told me that Omni-Man got a redemption arc. My favorite DC Superhero is Superman. My favorite Superhero of ALL TIME is Spiderman.

The thing about Spiderman though, is that it is hard to be Spiderman. The entire point of Peter Parker's character is that he has a terrible work/life balance and constantly loses people around him because being Spiderman is a sacrifice. The story doesn't bend over backwards to praise Spiderman as being a selfless hero, in fact it points out what a loser he is constantly. Peter Parker's friends are always frustrated with him and he's a wreck of a person.

Yet, the fact that being Spiderman is such a sacrifice and he keeps choosing to make it, shows what kind of person Peter Parker is, and that's just a person who does whatever he can to help out.

Even Peter Parker, the nicest, most well-intentioned boy ever has the Symbiote arc. One of the most famous arcs in comics dealing with Peter is when he lets Venom graft onto his suit, and even though the symbiote makes him violent, and makes his behavior change he spends the longest time not wanting to peel it off because the power boost the symbiote suit gave him made his life that much easier.

Dark Deku is an obvious reference to the Venom Suit, but a completely shallow reference because Dark Deku acts exactly the same as regular Deku the only reason he looks like that is he forgot to take a shower.

Superhero stories don't need to be Dark Deconstrutions, but they do need to be SOMETHING. They need to say something about the character. The problem with the Dark Deku arc isn't that Deku didn't experience a villain arc.

It's that nothing of consequence happened in the entire arc. Nothing changed. The story asked us if Deku's hero complex was a bad thing, and then it didn't deliver any answer. The story asked us if Deku needs to understand darkness better and then didn't answer that.

These are ideas that the audience promised were going to get answered. We were told Deku was going to get his development this arc that he was going to be pushed to the edge. The entire premise of this arc was that it was supposed to better help Deku understand Shigaraki and Hero Society only for Deku to not learn about either of those things.

Deku's learned nothing. We've learned nothing. Nothing has changed in the story itself. The only thing we've accomplished was wasting a lot of time that we could have been using watching Yu-Gi-Oh GX!

#mha meta #ygo gx meta #yu gi oh gx #yuki judai #judai yuki #supreme king haou #supreme king jaden #supreme king judai #yu gi oh gx meta #dark deku #ygo #ygx meta #ygo meta

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