#post so good it reminded me how good the character writing in this game is

[old-skyguy]

Look.

Ace Attorney fandom.

I know why people don't like Turnabout Bigtop. I am among the people who dislike Turnabout Bigtop.

But I GET why people like the case. I'm not going to be one of those annoying people who just blindly dump on it because I hate those mfs too.

Thing about Bigtop isn't that it sucks. Thing isn't the weird grooming stuff (though that is a huge part of it). It's not that it could've been good.

It's that - in my personal OPINION - it could have been *great*.

I think it had the potential to be one of the best third cases in the trilogy. It had everything; a fun and goofy setting fit for a pretty dang goofy lawyer game - where the environment itself had jokes and quips and one-liners and mishaps and tomfoolery written all over it, it had the previous case introducing a very interesting and important plotline that gave background for one of the more well-loved characters while also introducing an equally fucked up and lovable new one who was a child forced into a shit childhood of naivete in a CIRCUS with another character who was very naive and childish - whose interactions could have been funny and cute and reflective of said shit from the previous case (seriously she becomes such an important character in the 4th case, WHY would they not include her in this one for some character development? How did they fuck up letting a CHILD explore a CIRCUS?? That would have made the interactions flow MUCH better).

They had a pretty good, sympathetic killer imo, a morally dubious victim, an asshole of a client (who was pretty flat admittedly in-game, but I like his weird, topsy-turvy reasoning for it in the anime. Also, I think Max being kinda a dick would have bode well for the themes of Farewell since most of his clients up to this point have been like...nice? Not nice, but sympathetic, but him having to defend someone who's innocent but a prick would have shown him that just because someone is an asshole, doesn't mean they deserve to suffer for it and that they have the potential to grow as people, which is almost a complete foil to what Matt was. Ultimately, I would have loved the contrast of them as clients and I think it would have also served as character development for Phoenix, especially with his low-empathy tendencies).

They just didn't think that far ahead. They just didn't execute it well enough. They just decided to make three of the adult characters fight for the hand in marriage of a teenage girl. (Bat's part of the story was actually kinda good if he was just YOUNGER, I think him doing that for Regina would have been a stupid thing someone in the circus would do to impress their crush. Damn you Ace Attorney and your weird treatment of underage girls!!)

It just flopped and that's ok.

Even though it kinda sucked, it can still mean something to me.

Also I'm a Moe Curls apologist. I liked him, shut up.

[yandere-romanticaa]

Seen the request, so I shall deliver. Could you pls write a drabble or hcs of a yandere sunday with an isekaied reader?

Good timing because I'm actually planning a non yan isekai fic for him, I wonder if you saw that post. Here it is in case you haven't.

Sincerest apologies if this isn't the best, this fic is 100% emotionally charged by my obsession with him and frankly with a little bit of a high for passing a tricky exam. This is a treat for myself.

EDIT: Please check out this wonderful comic that @danijaci made me based off this fic!! 😭🫶

Picking up the cup from the fine oak table, you gazed towards the eerie galaxy before you, hundreds upon thousands of stars giving you a constant reminder of just how far from home you truly were. Taking a sip from the little porcelain cup you could not help but to hum in delight, the soft notes of the tea soothing your nerves ever so lightly as you pretended to ignore the heavy gaze which lingered at the back of your head.

Even from this distance, it was easy to tell that Sunday was eager to approach you. Still, he kept his distance and made a silent offering in the form of the very tea you drank at the moment.

Anything is better than Himeko's coffee but you were never going privy her to that.

In a not so distant past, all of this was nothing but fiction. The Express, the story, the characters - it was all nothing more but fiction, something to pass the time as your days went on and on, the same monotony repeating each and every day.

It was hard to not think about your friends and family, what sane person would not? Lord knows how they must be feeling right now, worried sick out of their minds with indescribable sorrow. In their eyes you had merely vanished, not a single trace to be found. For all they knew you could have been left for dead in a ditch somewhere, beaten, bloodied and broken, never to see the light again or if they were even more inclined to be morbid, you had succumbed to a fate worse than death. Death at the very least grants you finality, that all is over regardless of what happened moments prior.

But that was simply not the case for you.

Here you were, lounging about in a comfortable chair as you pondered on your old life while enjoying tiny little luxuries, far away where none of your loved ones could reach you. However, life was funny sometimes because it had some fun games in store.

Sunday was very kind upon arrival. He made sure to always be there for you, always checking up on you, always there to keep you company. You were already smitten with him but now to actually witness him in the flesh was just... Indescribable. You got along like a house on fire, so much so that the crew liked to tease that you ought to just get a room. Sunday, ever the gentleman, would just brush their words aside and assure you to not take their playful little jabs to heart.

You wouldn't say anything, resorting to merely giving him a smile but not because of what he said but rather of what he did not - never once did he actually shut down those perverse accusations. Never, not even once did he deny them.

He became an emotional crutch, someone to whom you would come running to when things got tough and he would always welcome you with open arms. Sunday would hold you tenderly, his serene voice dripping with honey along with a tender drop of ecstasy, for his excitement with holding you would just show itself sometimes. His grip would be too tight at certain moments, never quite ready to let you leave. His hugs were warm and comforting, he always smelled so good too. He smelled like kindness and sweet wildflowers, always lulling you back to him no matter the time. In dark corners and perhaps even under the watchful eyes of the crew, Sunday would wrap his scarf around your head, securing the soft fabric in order to provide you with a sense of comfort.

It was humiliating just how much you would try to inhale his scent as much as possible. You wanted it etched deep inside your memory, you wished for it to linger on your very soul and for it to follow you everywhere you went, sticking to your being like tar. The fabric of the scarf would muffle your ears a little but someone was always chatting in the background. Be it March bickering with Dan Heng, Mr Yang scolding someone for doing something they were not supposed to, or just Conductor Pom Pom trying to give a speech, all of it was irrelevant.

You were ready to kill whoever would try to pry you away from sweet Sunday. That thought came often which had left you worried - just what kind of person had you become? Regardless, you kept your mouth shut and had no plans of sharing such violent sentiments with anyone, particularly not to the one you held so dear.

When it was time to part for the evening you would bid the crew farewell and wished them a good night. You always made sure to take a few extra seconds with Sunday, just to ease your aching soul. He would tell you to sleep well and would see you in the morning, ready to take on any endeavor that crossed your paths.

As everyone parted ways, Sunday would wander off somewhere dark and distant, somewhere no one could see nor hear him. He would fall to his knees and clutch his chest in agony, fat tears streaming down his face as he did everything he possibly could to steady his raging heart. In a rush he would reach for the scarf which clung around his neck, his grip tighter than iron as he would bring it close to his nose. Taking a large, deep breath, Sunday was greeted by your familiar scent which would promptly calm his poor heart.

He sometimes wondered if his heart would start bleeding from the pain due to the sheer intensity of his emotions.

This was wrong, everything about this was not right and it hurt. Sunday was obviously ill but he had no clue on how to fight this... This emotion, this white hot feeling of need whenever you stood by his side. He started to choke on the air around him and fell into an abrupt coughing fit but even then, he could bring himself to remove the scarf from the lower part of his face.

Sunday wept and sobbed, filthy snot coming out from his nose but he could not handle that now. He needed you, Oh Heavenly Aeons, how he needed you. However was he going to tell you how he felt? How, oh how was he going to express the sheer magnitude of his true thoughts? He would scare you off, he was sure of it.

Even with this pain, even with these clipped wings and bleeding heart, Sunday had never felt so alive, so harrowingly present in the moment whenever he was with you.

Perhaps, he was doing himself a kindness by just letting you be. Drink your tea, be at peace.

He can always just make you another cup if you so desired.

Without knowing, you both haunted each other in the most agonizing way known to mankind and neither was strong enough to face the reality of the situation.

[amplexadversary]

.

[coffee-and-tea-time]

𓏲 ๋࣭  ࣪ ˖ Out of the menu, still the choice ๋࣭ ⭑

Yandere! Shopkeeper x Willing! Reader

We finally got a winner! *Clap clap* if you want context, you can go here but it's not that necessary we think - the twins

This mf was really more hard to write that I expected but nevertheless we tried to match the energy of the seller pickers so at least it was really fun ngl - Coffee

It took us both a while to draft what we wanted to write for him since he's not a very expressive character and we wanted to try a more subtle approach. If you have any ideas or suggestions for any of them, let us know!! -Tea

Count word: 3.1k (new longest post for now)

Tw: yandere behavior, kind of flirty reader, stalking, kidnaping?, written in you/yours, overall soft yandere, gaslighting, drugging (this really still counts as soft yandere??? believe me, yes), light paranoia, clueless reader

Your eyes scan the papers in your hand, your mind still focused rather on the man that handed you them, sitting right across from him, more specifically, the comment he just murmured. None of the people he mentioned called your attention as much as himself did, perhaps he was more that he presented himself as? He seemed to know much more about you than he’s supposed to, so, was he a yandere as well? And if so, Why miss the chance to tease a potential yandere? 

"Huh, so you think I should go out more often?"

"Well, I'm just concerned about your vitamin D intake, that's all. You need more sun Dear, for the sake of your health"

He smugly smirks at you like he's saying obvious facts that you should already know about yourself… though his smirk falters, his lips pressing into a tight line as he rethinks his words, though it was too late to retract them, it was your time to shine.

"Oh? Then why not help me with that yourself? You seem to keep a good track of my time outside for some reason, care to explain yourself, Honey?"

You steal his previous smirk, it now decorating your lips, curving them upwards smugly as he seems to sink into himself, his pen flipping between his fingers as a nervous fidget, scanning your expression, seemingly trying to understand what you were attempting to do with these witty remarks.

“Dear, allow me to remind you, you came all the way here to have an obsessive partner after you walk out this door, I'm sure anyone in the list will love to fulfill the job, sadly, I'm not one of them, I'm deeply sorry if my previous comments left any space for this misunderstanding"

He seems to lifts up a wall between you and him with his formality as if attempting to keep things formal and cordial though his eyes tell a different story, his eyes, akin to a snake’s narrow slightly, scanning your features as if daring you to continue this charade; a sweet chill runs down your spine, which only widens your smile further.

"Ow, come on, there's no need to lie so blatantly to my face, you know exactly why I'm here, and for that I can also tell exactly what is happening here”

He huffs, his fingers running through his black hair, messing up his slick back hairstyle into something much more fitting to match with his semi-formal attire.

"As I just said, I'm not a yandere, let's stop this little game, Dear, I’m not sure how you arrived at this conclusion, little detective…"

Those gray eyes glare at you without even missing a beat, narrowing further to make a subtle warning: quit fooling around. Do you care? No, honestly, him staring down at you only serves to fuel your burning curiosity about the man.

"Fine then, at least answer me this, how did you know i don't go out much?"

The man scoffs as if the answer was as obvious as looking in a mirror.

"Come on now, you are chronically online, I just made a lucky guess"

… Gotcha

"My screen time is something even weirder for you to know for certain though, don't you think?"

A silence ensues, tension and realization thick in the air as his posture changes completely, from relaxed and smug to tense and anxious, he leans forward, eyes avoiding you suddenly, like he wasn't piercing you with his stare just a few seconds ago.

You let your question linger, knowing you won, knowing he had no way to protest your question seamlessly 

"... don't tell management"

It was now your turn to sigh. Perhaps he was being truthful and this was just a big misunderstanding. Maybe his “background check” on you wasn't something he was supposed to do ethically speaking, but something he felt compelled to do. Then again, they did have this incident with a fool attempting to illegitimately make a yandere harem. Perhaps it was time to let this go, you tried at least, but being overly pushy could get you kicked out and leaving empty handed wasn't something you were willing to do after finally finding the courage to enter the shop.

 "Well, I don't know, I choose Oliver"

You said, the smirk in your lips faltering into a soft defeated smile, shrugging as you chose someone at random, pointing blindly at the papers.

"He's already purchased" 

He counters your response abruptly, his tone still formal yet with an air of defensiveness. You wondered, if he was already purchased, then why show it to you at all?

"Damn, okay, then Lio…"

You quickly point again at a random profile, barely even reading the name then scanning his expression, his head shaking even before you managed to pronounce the name fully.

"Sorry"

He responded with a shrug, his shoulders relaxing as if the tension he felt before was gone.

You smile at him once again, well, thankfully you weren't just flirting with the wrong target.

"You’re doing this on purpose"

You announce, amused by the realization, a smile widening in your lips as one seems to simultaneously tug at the corners of his, a mischievous grin adorning his sly stare, those eyes bearing into yours like a wicked fox.

"You choose me, be loyal to your own decisions… though, really, don't tell management. I do maintain I'm not some sort of obsessed maniac, Dear"

That's the most suspicious thing a person can say in a yandere shop but you take it.

"I care next to nothing about management… so, it's a date?".

(...)

You leave the store, hands empty, but not really. You walk with an extra cheer in your step, you managed to get yourself a date with the seller of the damn shop, not one of the many names in those papers, but the shopkeeper, talk about a plot twist. 

And so you make your way back home, waiting for the time to arrive, the time in which you'd meet up with the man outside of work in a sweet little restaurant down the same street where the shop is located. As you get yourself ready, checking your outfit, double checking…triple checking, your mind drifts to your conversation with the seller and the way everything he said seemed to avoid each and every one of your questions skillfully. You managed to get his number with the excuse of arranging the meeting time and place, yet… that was all, you didn't even get his name, did you?. 

You are brought back to reality with the buzzing of your phone, a notification from an unknown number… though it was the sellers, how did he get your number? Sure, he gave you his, but he shouldn't have a way to contact you yet, that information wasn't even in the paperwork either since you never filled any forms out, you didn't purchase any of the yanderes. 

» “Hey, it's the shopkeeper”

You raised a brow at your screen, watching as the little dots bobbed up and down, indicating he was still typing another message

» “just checking if you're still up for this date you so boldly proposed. My shift is over” 

His texts are a little dry, yet you can feel the awkwardness from them already, he wasn't fooling anybody, he was nervous as hell. 

You quickly type up a response, resuming your teasing over text like you never left the shop and so you text back and forth until the time arrives and you leave your home, walking down the street to the restaurant he sent you the location to. Once you got there, amusement tugged your lips up into a smile. This man, acting so unapproachable, so closed off, was eagerly waiting outside the restaurant with that classic “I'm just looking at my phone” stance, but damn he looked good. 

He wasn't wearing that semi-formal suit from before, but rather a tight black shirt, jeans and a jacket. His hair was down and you had to admit, it looked way better that way. You check the time on your phone, you arrive just in time, you look relieved but can’t help but wonder how the seller managed to close up shop, go back home, change and arrive before you when his last text was just a few minutes ago telling you his shift was over.

“aw, you arrived early to meet me? It’s so cute how eager you are for someone who didn't even tell me his name”

You meet his gaze as you approach him with a playful demeanor, his smile still decorating his face as always.

He huffs, glancing up from his phone, his eyes crinkling in a mischievous grin. He pockets his phone and adjusts his jacket, leaning a little closer as he speaks

“Oh, Dear, you got it all wrong, i just got here, but, i must say…waiting would have been worth it, you look stunning” 

He said with a soft chuckle and you nudged his shoulder in response to his compliment, though as you nudge him you feel how cold his jacket is, of course he didn't wait for you

“Right, anyways, you know, it's only fair that I get your name. I know you so desperately want to seem all mysterious and shit, but i need to know who I'm flirting with”

You tease bluntly with a chuckle, he tenses up a little, looking away for a second, trying to disguise his blush by rolling his eyes at you.

“I suppose you could call me Jade…”

“Well, jade, pleasure to meet you”

You said trying to imitate his tone of voice as he guides the way inside the restaurant.

“Since I answered your question, it's only fair you answer mine, don't you agree?"

His gaze seems like he's taking notes of your every expression as he gently pulls a chair for you to sit on before he sits across from you.

"Are we doing a little bit of banter here? Huh, that's quite the contrary of what you been doing all day, but please, go on, I'm thrilled to know what you wish to know of me"

His eyes move to the menu, although you can say his entire focus was still on you… because of the fact he can't possibly read the menu when it's upside down.

"So, if I may ask… why did you choose to flirt with me when you came to the shop to get yourself a yandere?"

"Why not? You could say I went there to find someone that catches my eye, and jokes on you, my eyes were set on you the moment you opened that door to guide me into the store"

You restrain yourself not to giggle like a fool when the top of his ears turns red while he's attempting to keep his perpetually smiling facade, oblivious to his own reaction to your words.

"Then, do yo-"

His words quickly die on his throat as a waiter gets to your table, you didn't have the time to catch the small twitch of his eyebrows that lasted a second.

"Good evening, I will be your server for the night, what can I get started for you two?"

As you two order normally, you can't help but feel a sense of discomfort as the waiter always speaks focusing his eyes on you, but Jade doesn't seem to react so you dismissed it, you're only feeling weird because of the awkwardness of being on a first date, although you can't help but sigh faintly with relief after the server walks away.

"Well… anyways, since I replied to one of your questions, guess it's my turn!"

You said smiling, trying to brush off the weird feeling you just had, focusing on your task in hand: the date.

“so, why don’t you tell me a little about your hobbies?”

You gaze at him while his head tilts slightly, as if doubting if to reply or just dodge the question like the past ones.

“Well, they differ depending on the time, I’m the type of person that get a new one every once in a while but one that has stuck since high school is embroidery”

Honestly, you can picture it, he does seem like the type of person who enjoys calm classy hobbies, old lady hobbies if you will. The image is sort of endearing. 

"Since high school? Wow, what was your first piece?"

You feel relieved that he seems more open to conversation now that you both are formally on this date. Sadly for you and lucky for him, you focused so much on listening to his answers that you didn't catch the small blush dusting his cheeks.

"...It was a skull, edgy, I know. I really like how it turned out back then though”

“A skull? Very edgy indeed, why-”

Your question was left hanging in the air as an arm interfered with your vision of Jade, the waiter placing your plates on the table with a polite smile. The interjection was a little awkward, but there's not much you can do about it, the waiter is just doing his job.

Though as you lower your voice to a stop, interrupted by the waiter, you see the slight hint of annoyance in Jade’s face flick for a second just to disappear like it never happened, it makes you wonder if that was a hint of jealousy? It probably wasn't… your yandere rotten brain must be seeing things, right?

As you two indulge in conversation, enjoying your little date, you almost lose track of time. It feels like in the blink of an eye, the date was already at its final point, the only thing that popped your bubble was his phone ringing.

"...sorry, it's my boss, allow me to step out real quick, it won't take long I'm sure"

You nod to him before he makes his way to the restroom to pick up the call. Honestly you feel kind of sad that the dinner was reaching its end but well, you can't be that clingy on the first date.

As you ponder between when and where the perfect second date will be or if it's best to wait for him to ask for another, the waiter interrupts your thoughts, placing a glass of what looks like raspberry juice on the table.

"Excuse me sir, I didn't order this"

The waiter gives you a puzzled expression as if it were a competition who is more confused by the situation but is quick to giggle as if it was an inside joke of his before reassuring you.

"Oh, don't worry, it's already been paid”

You didn't have time to ask further questions when the busy server was already on another table that needed him, well, it looks tasty anyways, why reject something when it's free?

You honestly feel like luck is on your side today; you got the confidence to try and flirt with Jade and successfully get yourself a really good date! And you also get a free drink as a way to celebrate your little achievement, so you take a big gulp. 

Huh? Weird, you know the taste of raspberry by heart, why does it taste more bitter? Ugh, the fruit is probably not that fresh , even the consistency feels a little thicker too. Well, raspberry juice is supposed to be like that, perhaps you got too used to store bought and got yourself confused.

"Well, is not like a restaurant would sell 'expired juice' as their main drink, surely I'm just overthinking it" 

You reason with yourself in a whisper as you set the drink aside, ugh, maybe you drank too big of a sip, you start to feel like you got brain freeze or something.

(…)

“Dear, are you feeling well? Do you need to go to the restroom?”

The sound of his relaxed voice quickly fills your ears, your mind feels hazy but you nevertheless try focusing on him as he sits back down to the table, catching his expression changing from the usual laid back grin to a worried frown. You didn't even notice when he came back from his work call, not until he was right in front of you, it's like time passed while your brain was stopped, something wasn't good…

"Did something happen? Do you need a pain-killer? Did the food upset your stomach?"

The rapid fire questions overfill your already overwhelmed mind as his hands hold your shoulders before he places his forehead against yours to check your temperature and although you tried, your currently unstable self only managed to hardly mumble some words.

"I… don't know, I just drank that"

You focus your gaze on the glass of juice and he follows your gaze with a frown as if his laid back mask is cracked.

"the color is slightly off and ice is only floating up to the middle of the glass…"

Was there really something wrong with your drink? What was in there? How bad is it? What's going to happen to you? Was it the waiter? Was there someone in the restaurant you didn't see? Why is this happening today?

"Dear, focus on me, okay? Don't worry, you're fine, just dizzy, I will make sure you are okay, alright? Take a deep breath for me darling" 

Through your dizziness you watch as he moves skillfully and quickly, paying the bill as fast as he could to take you out of there, his arms tightly wrapped around you to steady your wobbly stance, guiding you out of the busy restaurant. It's almost as if you were drunk, which didn't make sense, you felt yourself slipping further out of your senses, sounds muffled and your vision blurry, your legs and hands feeling tingly with each step you took with his assistance. 

"Jade, I-"

"Don't worry Dear, I will take care of you, just trust me, alright?"

You can help but feel grateful that even in this awful situation, you managed to have someone so gentle and caring with you, but before you can try to babble a thank you, you feel your mind shut off like an old tv… don't worry, you are being taken care of, Dear.

He just wants to look after you, it would be so creepy if he left you unconscious at your place since he's not supposed to know your address yet, so, guess the only choice is him letting you crash at his apartment, it's fine, you will find yourself at home there, it's really cozy! 

. . .

Wait, did you really believe him? That's kind of hilarious, try guessing again.

sorry for any misspellings or weird sentence structure ❣

images from pinterest and divider by Tea ⚘

[power-handmaiden]

Day 180: Not Pounded By Self-Doubt Because I Can Do Anything I Set My Mind To

Ok, from the title I was expecting this to be a broad feel-good tingler. I wasn't expecting it to hit me in a personal place. So this post will get kind of personal.

I wish I had read this one earlier! Close to the beginning of this project I made a post about how I hoped to get some inspiration to be creative again from reading all these tinglers. I don't have any aspirations of making professional-grade work like the protagonist of this story... I just missed being able to channel my feelings into hobbies I used to enjoy. I don't think I was able to put voice to exactly the problem for all those years- I thought I just couldn't think of ideas anymore. That wasn't it, though. I was feeling exactly what the protagonist of this story was feeling- self-doubt over the quality of his ideas. They were all too ridiculous, or too niche, or not fleshed-out enough (when you've gone creatively stagnant it's so easy to forget how those inklings of ideas have a tendency to develop themselves once you get down to actually writing/drawing them out!)

But, while I feel like this tingler is a great one for anyone feeling this way with their creativity... I think tinglers in general, especially the act of opening oneself to enjoying them without any feelings of irony, can be just as powerful. For fuck's sake, I read a story where a guy named Rim Tuesday fell in love with and had sex with a sentient veggie burger. And I LOVED it. And I could tell the author had fun writing it! Who's to say any idea is too ridiculous when the work I just described is an incredibly enjoyable one?!

Recently, I've gotten back into writing fanfiction. Slowly, but it's a start after letting the self-doubt keep me down for so long. It's fun! And this tingler makes me feel good about picking the hobby back up. This tingler is a good reminder that the fun I'm having with the ideas (hardcore lesbian sex between video game characters mostly, to be clear) makes it worthwhile no matter how far what I'm doing lies beyond what popular opinion would call "good" or "respectable" art.

[peachie-bumblebee]

FNAF SECURITY BREACH NSFW HEADCANONS

MAIN 4

MINORS DNI

getting back to my ROOTS with this one!! hope my community is still out there- the dlc has brought back my love for the game :) i haven’t posted SB content in a LONG time so a reminder- I ONLY WRITE FOR CHARACTERS WHO PASS THE JACK HARKNESS TEST. They are OF AGE OR ABOVE, have HUMAN OR ABOVE INTELLIGENCE, and can VERBALLY GIVE INFORMED CONSENT. The SB animatronics are canonically sentient. None of the past ones are. okay- back to the content :D

CW: ONE PREGNANCY MENTION, KINK RELATED T0YS, SEMI-PUBLIC MENTIONS, DACRIPHILIA

GLAMROCK FREDDY

lord have mercy…

he’s the most virgin coded out of all of them. i’m sorry.

but do I think he’s a TOTAL virgin? no.

there are FREAKS out there (me writing this and y’all reading this-) who would 1000% show up to the pizzaplex just tryna get a piece of the fazballs

SORRY

he’s the type to silently get off in his dressing room and then get all embarrassed about it like there’s someone there to judge him

he’s an actual sweetheart in the sheets. he’s so so nice about everything. as we go down the list this DECREASES.

don’t push him too fucking hard tho. if you’re one of the ones who read my old fic Competition, you remember.

his fingers vibrate.

and so does that dick.

he’d turn it on inside of you and listen to you gasp before putting a hand gently over your mouth and hushing you.

he seems a lot like a gasper. maybe the occasional curse word coming out, but mostly praises of how good it feels.

i know he is a messy cummer. i’m right and that’s final.

he’d be absolutely humiliated after the fact and go get a wet washcloth asap, but it’s a very shocking amount anyway.

pregnancy isn’t a concern, but he’s still wary about cumming inside for some reason. he’s the type to make sure it’s okay like 3 times before he does it.

okay i lowkey think he’d be into getting handcuffed. i don’t know what handcuffs could genuinely hold him, but if you brought them out he’d be (figuratively) SWEATING

i think his eyes roll back when he cums. and i’m correct. eat me.

he’s the lead member but he’s humble about it… except a few times in bed. then he lets it go to his head(s). just a bit. ;)

if he was in a relationship he’d have a thing about his partner dressed in his merch

switch! but the most vanilla out of everyone- but remember, not completely.

…he’d eat his cum out of you.

no he is NOT gonna call you superstar during sex leave me ALONEEE

GLAMROCK CHICA

my biggest hc for her will and will always be that she has a MASSIVE toy collection. she is a toy girl. do i know how she gets them? not exactly.

but I DO know that they’re all pink and white and sparkly!

that doesn’t mean it’s all vanilla toys though (respect to the vanilla community but it is not me :) )

she does own a hot pink flogger and she WILL happily use it on a groupie or her partner.

she’s such a tease. she’s such a fucking tease jsghskbnsjh

doesn’t matter if she’s domming or subbing (60/40 ratio)

she’s a TEASE

and she giggles during sex

her whole bubbly pink happy girl thing doesn’t stop

she’ll put you in a bubblegum pink sex swing and use a big ass vibrator on you while giggling and telling you how cute you look

i know she likes pulling on nipples I KNOW SHE DOES

for those who used to ask- no, she can’t give head with her beak. and she’s not taking it off. sun/moon can’t give sloppy either BUT THEY MAKE IT WORK!

AND SHE DOES TOO!

she can fuck up the guitar with her fingers, what else do you think they can do?

she’s the type to pull you into a side room, hush you, finger fuck you, then send you on your way with a hug

i know for a FACT SHE WEARS A STRAP!

yes it IS glitter. it is also 9 inches.

and if you want more, she has more ways to give you that.

she’s also the type to get you front row tickets and put a remote control vibe in you so she can watch you squirm right in front of her.

she’s also a praiser, but there’s a lot of false sympathy in there too.

food aftercare. she wants to eat 3 pizzas with you. food is her love language

ROXANNE WOLF

YOU BETTER BARK LIKE YOU WANT IT!

she’s a dom. she just is.

god I miss that fic I wrote.

she’s so fucking cocky in bed. it’d be insufferable if she wasn’t so hot and so good at sex.

if who she’s fucking is AFAB she’s EATING IT!!!! YOU CAN BET ON IT THAT SHE DOES MUNCH!

if they’re AMAB then you can expect her to lean them back on her chest and give them the most intense handjob of their life.

in general, the animatronics are stronger than people, so when they’re rough they’re still not going at their hardest. that would actually just kill you.

she’s a show-off. she’ll leave marks in very noticeable places on purpose so that everyone knows that you’re getting fucked by THE Roxanne Wolf

she’s a hair puller. I just know she likes to wrap her claws up in it and pull.

don’t fucking pull hers though, she doesn’t like that shit.

yeah her tail wags when you eat her out, what about it? don’t point that shit out, it’s embarrassing to her.

she curses so much during sex.

the strap is purple and THICK. if you want more then she’ll just hit up Chica for a new one. Chica is more than happy to help. and more than happy to watch.

she’s only the jealous type if its some rando loser. THEN she’ll fuck the living shit out of you while telling you how she’s the best and making you repeat it back to her.

if it’s Monty or Chica? If you’d be into it too, then yeah, she’ll share.

…Freddy is more of a hard sell, but it’s not a hard no.

it’s more of a “Yeah yeah yeah but why do you wanna fuck the dumbass bear? Why him? Monty’s got a bigger one, I’ll tell you that.”

yeah but roxy baby his doesn’t vibrate

she comes off a winning high after a particularly close race, she’s going to go feral on you

with those eyes of hers, she can find you wherever you go. so if she’s randomly in the mood and her partner is there, even halfway across the pizzaplex, she’s on her way to pull you into her room and take some “private time.”

MONTGOMERY GATOR

hhhhhhooOOOHHH BOY

y’all remember the start of SB where he’s fucking up his room?

prepare to be destroyed HSGDHJSGBDNH

degrades. degrades the fuck out of you. it’s a toss up between Roxy and Monty who’s the more cocky, but he’s certainly meaner.

LONG ASS DICK. IT’S HUGE WITH ALL SORTS OF BUMPS AND RIDGES AND SHIT.

head pusher IF you’re okay with it. consent is mandatory.

he’d grab all his partner’s hair if they had any to grab, even just an INCH and go ham.

his long ass dick matches his long fucking tongue.

loves giving lethal backshots LOOOOOOOORD HAAAAAAAAVVVEEEE MEEERCYYYYYY

he’s not only breaking the bed, it’s straight up sawdust. idk how his partners live but they certainly live happily after.

as cocky as he is, he’s not exactly a selfish lover by any means. yeah, he’ll edge you, but he also likes to get his partner real sloppy if you catch my drift.

he aims to make you cry from pleasure. it’s straight up his goal.

i just know he knows EXACTLY where all the right spots are. you don’t even gotta tell him, inside or outside, no matter personal preference, he can always pinpoint his partner’s sweet spots

and then he proceeds to abuse the fuck out of that knowledge

he gets so jealous over Freddy, it’s insane

he sees his partner in his merch, he’s ripping it to shreds.

Roxy is less of a threat. That can be more of a collaborative effort.

he honestly doesn’t know how much of a freak in the sheets Chica is. If he had a threesome with her and she whipped out her chest of fun he’d be like “DAMN BITCH WHERE’D YOU GET ALL THOSE” and she’d be like “^-^ wanna see my buttplug collection? :>” LMFAOOO

GROANER. he GROANS LIKE CRAZY

also a bit of a growl but NOT in the cringe tiktok way don’t worry

HOPE YALL ENJOYED!!! I really hope I can start to find my old community with this :)

[galedekarios]

minsc & gale

recently i've been doing a playthrough taking minsc along during the limited amount of time we do get to connect with his character in the game and i have to say he's growing on me in a way he didn't in previous titles.

i wanted to take the opportunity here to write a short post about his relationship with gale because that, too, is something i found myself enjoying despite the (too) few interactions that we have between them.

minsc's initial thoughts about gale

Player: How are you and Gale getting along? Minsc: I do not wish to speak of the wizard. Minsc: I could not have said it better myself. - Player Option 1: Gale's great - what's your problem with him? Minsc: He came to me one night with a little book of mischief - full of words and their meanings. Minsc: 'Posterior', he says. 'Can you say 'posterior'?' I refused! Minsc does not need to know the language of wizards. Player: 'Posterior' isn't wizard-talk - it's another word for 'butt'. Minsc: It is an inferior word. Far too long to use in a battle cry, which is where a 'butt' belongs. Minsc: Gale would do better to educate himself in the ways of sword and steel than to throw these pointy words at Minsc. Minsc: Ai, yes. Gale also owns a cat. A cat with wings! That is most unnerving for poor Boo. Player: You should give him a break - he's only trying to help. Minsc: Never! If he is not careful, Boo will shred his books and use them as bedding! - Player Option 2: Did you know that he has an explosive magical orb in his chest that could destroy a city? Minsc: WHAT? Minsc: That is a thousand times more interesting than anything that has ever been written in a book. Minsc: GALE! MY GOOD FRIEND! WHERE ARE YOU? MINSC AND BOO WOULD LIKE TO HEAR ABOUT THE EXPLODING.

they may not start off on the right foot, but with gale's genuine interest in other people's cultures as well as his perception and easy-going nature that changes:

sorcerous sundries

Minsc: Minsc has never trusted places such as this. Too much of a wizard's power can be simply packaged and picked up. devnote: Grumbling as we make our way through the shelves of Sorcerous Sundries Minsc: Well, picked up by all but Minsc. When he touches the many delicate little jars, oh how the wizards shout and stare! devnote: Revealing that his objection of Sorcerous Sundries is not in fact a deep philosophical belief that wizards have too much power - they just make him feel stupid and awkward when he pokes at their things Gale: Fear not, Minsc. You have a wizard at your side who positively encourages such curiosity. You'll fit right in. devnote: Reassuring Minsc: Obliged, wizard. Should we find our way to a weaponsmith, Minsc will rough you up a little - so that you too can fit in. devnote: Warm, comradely, would genuinely be doing Gale a favour

i feel like it truly speaks to gale's character that he doesn't dismiss minsc here - neither his feelings of inadequacy nor his innate curiosity about the things he perceives as wizardly.

it would've been very easy for gale - the wizard prodigy, the former chosen, to archwizard - to act the part of the haughty scholar, akin to the arrogant wizards that minsc describes in this banter, looking down on him, shouting at him, but gale doesn't.

gale reassures minsc, encourages him, telling him he'll fit right in. it reminds me of the way he treats karlach and fostering her interest in books and reading. another pair of seemingly polar opposites that still find a connection. i do think gale is quite natural at this, despite his long time spent in isolation.

and minsc does appreciate it - his tone changes to one of warmth, one of camaraderie - and i think this is also when minsc's perception of gale changes: from the annoying wizard to someone he sees as a companion and friend.

rashemi traditions

Minsc: Gale. Minsc worries you might send a fireball up his butt, with all of this stringy hair in your face. Gale: Is that why you keep your head shaved? I assumed it was a custom of some sort. devnote: Curious, referring to Minsc's origins Minsc: Oh, no! Most warriors of Rashemen wear long battle-braids, weighed down with stone. Minsc can show you, when next we camp? Gale: Thank you, but I'm more wizard than warrior. I'm not sure my scalp would stand up to such a plaiting. devnote: Very politely declining

i like this banter for several reasons: i think not only does it show the progression of their relationship with minsc offering to show gale the traditions of his homeland, gale also shows the same curiosity he shows many different cultures and ways of life, same as he does with lae'zel for instance and githyanki culture.

when he declines minsc's offer, he does so politely, without insulting minsc's traditions, putting the onus on himself instead. he's the wizard, not the warrior.

house of hope

Minsc: Gale! You will perhaps able to explain where Boo has not - what exactly is the difference between a devil and a demon? Gale: A fascinating question, one that boils down to which criteria we choose to apply. Are we speaking about the physiological? Theological? Etymological? devnote: In teacher-mode - up for an in-depth, intellectual discussion Minsc: Eh. Just how-to-kill... -ical. devnote: Non-plussed, echoing Gale's ending every word with 'ical' Gale: Oh. Then for your purposes, they are exactly the same. devnote: Disappointed

this banter genuinely made me laugh. again, i like how it shows the progression of their friendship, to the point of where minsc goes from finding gale annoying to imitating his speech. and gale doesn't put it beyond minsc to have an 'in-depth, intellectual' discussion... even if he is disappointed by the end of their banter, realising that minsc's priorities are... elsewhere.

wychlaran

depending on your party composition and who you take with you, minsc can also call gale his wychlaran.

The Wychlaran, meaning "wise old women" in the ancient language of Halardrim, also known as the Witches of Rashemen outside their lands, were the spiritual leaders of Rashemen, communing with the spirits and guiding the souls of the Rashemi people.

minsc does use it, too, to describe a special bond and a sense of duty and protectiveness to the people he ascribes this title to. he did so in bg1 with dynaheir and in bg2 with aerie.

elminster

Minsc: It must be difficult for Gale to imagine great Elminster a-courting. Writing poems. Doing... certain... deeds. Gale: Long before my time, thank goodness. That's not an image I care to dwell on. Minsc: Ugh. It is difficult for Minsc to think of, too. Let us speak no more of it. Minsc: ... Minsc: Of Elminster and the sex, I mean.

another banter that did genuinely make me laugh despite the seriousness of the situation, especially given the bond that elminster and gale share as well, which speaks of paternal feelings on elminster's part that come with a certain sense of responsibility, as well as gale's admiration, but also often exasperation with his former mentor.

on a more serious note, minsc offers great insights in his interactions with gale and gale's story:

mystra and the vremyonni

The vremyonni or Old Ones were an arcane brotherhood in Rashemen. Men that were arcane spellcasters in Rashemen had two choices, exile or to join the vremyonni. Many vremyonni were kept alive for eons by longevity magic. Vremyonni were expert weaponsmiths and magic item creators. On very rare occasions, vremyonni would fight in the defense of Rashemen. Vremyonni used secrets of magic that even the Witches of Rashemen did not use, destructive spells forbidden among the wilds of Rashemen, in case such magic was needed. The Running Rocks harbored secret strongholds of the vremyonni. All vremyonni wore masks.

Minsc: Gale reminds me of the vremyonni of my homeland. The man-mages of Rashemen. Minsc: While the girl-folk go on to rule as wychlaran, Weave-touched boys were hidden away. Trained to work their craft in silence and secrecy. Minsc: It is an old custom, not well-observed. In truth I thought it born of caution, after some catastrophe wrought by wizardly men-folk of old. Minsc: Now I wonder if it was not done to hide them from Mystra, and the snares she sets for young and prideful boys, hm? Minsc: Though this suggests that Mystra has never tempted a witch into foolishness. Not that I would blaspheme by suggesting otherwise. Minsc: I forget why I began this long and winding story. Yes Boo - we have been spending too long around the wizard.

i think this is a very interesting banter, especially since it's also only marked to trigger if gale agrees to return the crown to mystra.

it's easy to dismiss this banter, laugh it off as just another instance of minsc being minsc, but i think it's important to consider it within the context of game canon and what has been shown to us.

it's a story and everything within a story is there for a reason.

another great insight from minsc comes if gale is pushed towards the crown by the player:

gale and godhood

Minsc: Who among us has not been spurned by a lover? But a word of advice, if Minsc may be so bold: Minsc: Let the wizard lick his wounds. Write some rickety rhymes, and weep most manfully into his hamster's hide. Eh - his cat's hide. Minsc: But... his boasting is unbecoming. 'Claim godhood', he says? Will this make him any less a man with a half-mended heart?

again, minsc does at times share great insight into other characters and he does so here again with gale:

will this make him any less a man with a half-mended heart?

i think it quite accurately goes straight to the crux of what makes it so very easy to push gale towards godhood: he is hurt. he feels abandoned. by his goddess. by his former lover. both as a mystran and on deeply personal level.

he is drifting, seeking something to hold his head above the water. if it's not the protag's love or friendship, it will be the crown.

anyhow, i never expected to write this when i first learned that minsc would be a companion, but i truly did enjoy him and his interactions with gale in particular.

[minus-plus-zer0]

~ Welcome ~

| ♡ Ao3: minus-plus-zero ♡ | | ♡ Fanfiction.net: minus-plus-zero ♡ | | ♡ Bluesky: minus-plus-zero ♡ || ♡ Request status: CLOSED ♡ |

~ Rules ~

You can request drabbles, headcanons, or one-shot fanfics. If not specified I often default to writing fanfics.

I write fluff 🩷, angst 💔, hurt/comfort 💘, or crack ❣️.

I do not write smut, cheating, or sexual assault.

I do not write abuse or abusive dynamics between Bakugou and the reader. Abusive themes are otherwise okay (such as abusive backstories or witnessing abuse), with the sole exception of sexual abuse.

I only write gender neutral or female readers. I keep most stories race/gender neutral.

I only write romantic Bakugou x reader. Side ships with other characters may be included, but Bakugou and the reader must only be with each other!

Please do not copy/repost my art without permission! If I accidentally use stolen/AI art please let me know, because this is never intentional.

~ Masterlist ~

| 🩷 - fluff | 💔 - angst | 💘 - hurt/comfort | ❣️ - crack |

Drabbles

He Likes to Share His Food 🩷

Love at First Sight 🩷

Offering His Jacket 🩷

Reminders of You 🩷

What He Thinks About Post-Breakup 💔

Who the King Serves 🩷

Bakugou Fights For You 💘🩷

Not Afraid to Say ILY 🩷

Possessive 🩷

Family Getting Ready for Bed 🩷

The Bakugou Blanket 🩷

When He's Tired 💘🩷

Casually Touching You 🩷

A Rockstar's Muse 🩷

Your Lipstick Stains 🩷

Calling Him Pet Names 🩷

Seeing You With Another Man 🩷 💔

Recording a Love Song Together 🩷

Kissing a Princess's Hand 🩷

Say It Back, Please 🩷

Camera Shy 🩷

Comparing Hand Sizes 🩷

How to Summon a Demon 🩷

That Gorgeous Dress 🩷

Skull Shirts 🩷

Kisses For When You're Injured 🩷

Headcanons

Studying in Bakugou's Dorm 🩷

Studying in Bakugou's Home 🩷

Getting a Dog With Bakugou 🩷

Vigilante Bakugou x Normal Reader - Part 1 💔

Vigilante Bakugou x Normal Reader - Part 2 💔🩷

"And They Were Roommates" University Version 🩷

Working at Bakugou's Agency - Part 1 🩷

Working at Bakugou's Agency - Part 2 🩷

Fireworks Festival With Bakugou 🩷

Fiance 🩷

Beauty Pageant 🩷

Multi-Chapter Fics

A Royal's Choice [Masterlist]

The Bakusquad Gaming Group [Masterlist]

University Days With Bakugou [Masterlist]

Werewolf AU [Masterlist]

One-Shot Fics

Paper Kiss Game 🩷

Missed Texts 💔

Stuck Inside From the Rain 🩷

Shopping With Bakugou 🩷

Disappearance of You 💔💘 [Request]

Dead of Night 💔💘

His Cologne (And Yours) 🩷

Accidentally Sleeping Together 🩷

Almost Too Late 💔💘🩷

Tattoos 🩷

Alice in Wonderland White Rabbit Reader 🩷❣️ [Request]

(Not) Highly Trained in the Art of Kissing 🩷

He Hears You Talking About Him 🩷

Catching Him in His Celebrity Disguise 🩷

So Pretty 🩷

When You're Depressed 💘

Jealousy 💘🩷

Sharing His Earphones 🩷

While You're Gone 🩷

"You Know You're Fictional, Right?" 🩷❣️

Staring Contest 🩷

Sunshine Vs Grumpy 🩷

One Good Grovel 🩷❣️

Happy Accidents 🩷

Moodboards

Dates With Bakugou 🩷

[resart]

The Inconspicuous Writing Gem: Daeran’s Look-alike Contest Breakdown

The Dance of Masks brought the long-anticipated last hurrah to the Knight Commander’s story. Although it was announced that the DLC would focus on the companions, I wasn’t holding my breath for substantial content that would actually enrich the characters’ plots. The game is already massive and has a ton of variables, so expecting the writers to continue storylines that can have multiple outcomes would be unreasonable. But one scene far exceeded my expectations and set the bar high for the rest of the expansion, rendering me more critical about some of its elements than I would normally be. The event in question may not appear as much, but the true artistry in writing stories driven by the player’s choice fully reveals itself in what we don’t see on the surface. Daeran’s look-alike contest varies greatly, depending on how his personal quest was resolved, and, therefore, serves as a semi-epilogue to his arc. I wanted to post an analysis of his character’s progression for quite some time, and this send-off is a fitting opportunity to delve into this matter. I’ll break down the differences in the new scene as well as in a few others and share my overall thoughts on what this addition brings to the table. Brace yourself because it’s going to be long.

I'll start with a quick reminder of what Daeran’s questline outcomes are, because I'm going to reference them a lot:

Good, in which he’s openly grateful to the Knight Commander despite having to face the tribunal, and Liotr, noticing their bond, intervenes so the Inquisition doesn't lock him up;

Lobotomy, in which Daeran reluctantly accepts his predicament of having to face the trial, Liotr doesn't support him and after the crusade, the Count is sent to the asylum and lobotomized;

HappyEvil, in which the Commander kills Liotr to secure Daeran’s freedom;

ArchEvil, in which Daeran doesn't have any trust in the Commander, feels deserted and murders Liotr to avoid the trial.

At first glance, there's nothing profound about Daeran’s festival quest — it fits his image to indulge in the vain act of self-celebration by choosing the most accurate imitation of himself. However, this simple setup proves itself clever when we realize that, by observing the contestants, he sees himself in a distorting mirror. Coincidentally, each participant appears to represent a different facet of the Count’s character. Therefore, his reactions to them speak volumes of the self-image and mindset he developed during the crusade in each scenario.

Among the doubles, we have an aasimar who mimics Daeran's arrogance and cruelty, and constantly interrupts other participants' speeches with mocking remarks.

A woman who recreates Daeran's sophisticated bon vivant persona.

A drunkard who paints Daeran as a worthless and utterly unapologetic rake.

And finally, an innocent boy who keeps staring at Daeran with admiration and portrays him as a virtuous hero of the crusade.

After the presentation of the contestants is over, Daeran asks the Commander’s opinion. Again, his responses to their verdict vary in each case (unless they choose the cat), but the difference in how he reacts to being compared to the little boy is the most telling.

No matter what the protagonist suggests, the winner of the contest is fixed for each of the outcomes. If the Commander failed to earn Daeran's trust and he murdered Liotr himself, the conceited aasimar is declared the winner.

If the Commander killed Liotr, the Count awards the lady.

If the quest was resolved peacefully (either Good or Lobotomy), Daeran chooses the boy and has a heartwarming exchange with him.

This variety of possible scenarios and the way they are handled encapsulate why I consider Daeran's story so intricately woven and enjoyable to analyze. He's an incredibly flexible and dynamic character whose potential endings range from becoming a saint to a homicidal maniac. But what makes this duality and everything that comes in between so engaging is that all these vastly contradictory conclusions are equally organic and convincing, given his rich characterization and the player’s choices. The subtle yet significant divergences in the narrative paths maintain the integrity of his personality and prevent his evolution from seeming far-fetched while efficiently showcasing his growth or regression.

Regretfully, this attention to detail is missing from the other new scenes, which don't convey a similar sense of progression and can come off as somewhat disconnected from the rest of the playthrough. The rendezvous, for example, avoids references to how the player concluded Daeran's romance and quest. Given these plotlines' non-linearity, it's an understandable approach, but it prevents the scene from exploring deeper themes and hitting more emotional notes. What's particularly detrimental to the its overall intensity is the absence of exclusive dialogue for the True Love outcome. Ironically, it's the two worst endings that get unique and surprisingly heartfelt lines.

The difference is insignificant, however, because the conversation always plays out the same. All in all, the segment is nice and leaves a lot to the imagination, but only partially exploits its potential. Meanwhile, the festival mini-quest embraces the aforementioned strengths of the storyline's writing, giving every iteration of Daeran distinct dialogues that clearly demonstrate the impact the crusade and acquaintance with the Commander had on him.

I won't examine every dialogue branch in detail but will mainly focus on the Good scenario. As someone who likes this ending the best and even advocates the controversial writing in the final confrontation with Liotr, I always thought the narrative failed to properly sell its implied benefits. Apart from the closing conversation in the quest itself, late-game provides little reactivity to differentiate the outcomes, making it hard for the players to fully grasp the internal shift that Daeran undergoes. Comparison of said dialogue in various scenarios reveals his perspective in Good route as the least egocentric and overall most mature. Unfortunately, in an individual playthrough, these qualities can get overshadowed by the Count's dissatisfaction with the inconveniences he will eventually have to endure.

Aside from that, the effects of each resolution manifest only in Daeran's responses to one question in the romantic route and how he expressed his feelings regarding Galfrey’s death.

Even though they show evident contrast and serve as a much-needed emotional pay-off for the moral dilemma the player faced in the storyline finale, both are relatively minor, with the Queen one completely missable in most playthroughs. When combined with the similar omission of negative repercussions for Daeran’s moral condition and emotional maturity in other outcomes, it's not surprising many players believe he doesn’t ever change or that becoming better fundamentally clashes with his nature.

The discussed competition scene remedies the narrative’s deficiencies, ultimately proving this statement untrue. In the Good outcome, Daeran presents a reasonable dose of self-distance. When confronted with the drunk’s insults, he replies with humor and courtesy, which is a stark contrast to his reactions in the Evil outcomes and his past responses to criticism. Despite being hurt by the harsh judgment, he understands such a low opinion of himself is somewhat justified. The Count's mild response and his sensitivity to the suggestion that he's nothing more than an unfeeling scoundrel may even indicate that he has developed some remorse for his past actions. He also dismisses unwarranted flattery and distances himself from the brash egotism. All without falling into a spiral of gloom and self-deprecation that occurs in the Lobotomy scenario. Introspectiveness and vulnerability showcased here are a seamless continuation of the self-evaluation Daeran does in the High Trust version of his quest upon being supposedly betrayed by the Commander.

It's all the more unfortunate that the other interactions in the DLC don’t acknowledge these differences and instead return to the common denominator of all endings. As a result, the player will go from Daeran, who self-reflects and claims the aasimar presents an unfunny caricature of him, to Daeran in the tavern, who puffs himself up exactly like the guy (using even the same words) and seeks more sycophantic praise. While it's expected for him to put on an airy act and tease others, the absolute lack of self-awareness he previously exhibits in the Good route is quite jarring. Considering the complexity of the storyline as well as all sorts of limitations, such inconsistencies are inevitable (the base game already has a fair share of them) and in the end, one can easily reconcile them through their own interpretations. However, after being spoiled by a reactivity treat like the festival mini-quest, it's disappointing that the remaining dialogues lack similar nuance.

In the Good scenario, Daeran's behavior reinforces what we learn in the epilogue — that in this version, he has the most difficulty navigating through his newfound freedom and redefining himself in it. Choosing the winner of a silly contest shouldn't be hard for him, and it isn't in the Evil outcomes. There, the self-satisfied Count (who in both cases already has the blood of at least one innocent man on his hands) picks what he perceives as an idealized version of himself — be it the aestheticized depiction of his self-centredness or the unbridled and unyielding haughtiness. Noteworthily, in the Happy variant, Daeran openly flirts with the lady and, in both Evil paths, if not romanced, attempts to seduce his favored contestant. It’s peak narcissism, given the implications of the scene. In the peaceful outcomes, especially the Good one, the ordeal is a series of unpleasant self-reflections that even causes him to become overwhelmed by sorrow at one point. In the end, Daeran’s choice stems not from an ulterior motive or a desire to boost his ego but from genuine fondness for the boy. The youngster's belief in the Count’s kindness and heroism reminds him of his own innocence that was prematurely and brutally snatched from him. At his core, Daeran is not a self-sufficient master of his own fate but a helpless child thrown by unfortunate circumstances into otherworldly oppression and a vicious cycle of selfishness. In the Evil routes, he successfully deludes himself into believing he’s the former, but here, he realizes he’s the latter.

We're used to seeing Daeran scoffing at saccharine narratives and lofty ideals, and in the Evil versions, he's indeed annoyed with the boy’s portrayal of him. In one of them, he even anticipates him to be disenchanted, finding the prospect amusing. In the campaign's early stages, the Count voices his dissatisfaction with being enrolled in the crusade and laments the tarnishing of his ill reputation. Any suggestions that he may be secretly vulnerable are met with biting retorts. But now, Daeran doesn't disabuse the child and isn’t even bothered by being seen as a heroic figure. There also isn’t any objection when the Commander points out the similarity between him and the boy. He’s shocked they can see through him but decides to be honest and agrees with their assessment. Daeran’s sensitivity and his tendency to be more emotionally transparent with the protagonist is, at this point, a recurring theme in the peaceful outcomes, so it’s a shame that when they later choose to compliment his vulnerable soul, he's always equally dismissive.

Daeran is perfectly aware of how damaging cruel disillusionment can be to one’s psyche. As a child, he witnessed firsthand the powerlessness of good in the face of evil, the suffering adhering to moral principles can bring, and how those who claim to be righteous can turn out to be as callous and uncaring as hardened villains. These experiences left the young Count with a pessimistic view of the world and human nature, making him adopt coping mechanisms that only deepened his melancholy and loneliness. Knowing this, he wishes to spare the boy a similar fate and plays along to preserve his innocence.

In the non-peaceful outcomes, Daeran gives the signet away as if it was an insignificant bauble. But even though we barely ever see this side of him, some dialogues indicate he’s proud of his heritage and his ancestors' role in Mendev’s history. They were valiant defenders of the kingdom, who, for generations, protected its borders from any threat. This is who the Count, as a scion of the Arendae house, was originally destined to be and who, it so happens, the boy sees in him. Perhaps his take on him makes Daeran reflect on how differently things could have turned out had it not been for his family's demise and the Other’s interference. It undoubtedly revokes memories of his roots and deceased kin, since he not only rewards the child with the ring but also educates him on its meaning and sentimental value, expressing unexpected sincerity and kindness. In the Lobotomy scenario, this gesture is particularly bittersweet — with his impeding childless death, Daeran’s lineage is going to expire, making the memento the only way to keep its memory alive.

Finally, the Good version of the scene carries a deep symbolic significance. Daeran rewards one person who doesn't focus on his superficial traits or recreates the mask he hides behind. The image the boy paints of him may not be accurate, but while the other portrayals embody what the Count turned into under the Other's influence, this one shows what he could have been if he hadn’t lost the childish naivety he now longs for. And who he, despite his own skepticism, still can or perhaps even already started to become, thanks to the good protagonist's compassion and support. Just like the Commander, the boy views him as someone better than what his predicament forced him to be. And Daeran, confronted with sincere faith in him, cannot help but answer the call.

[felassan]

Paste Magazine: 'Dragon Age: The Veilguard‘s Creative Director Talks Restoring the Lore'

Rest of post under cut due to length and possible spoilers.

"“I was the one cinematic person who always snuck their way into all the writing meetings because I love storytelling,” [John] Epler tells Paste. “I love narrative, and they wanted me to be Narrative Director on the franchise.” When the Creative Director position opened up later on, Epler was primed for the role thanks to his experience across multiple aspects of game design.  ‘They wanted someone who had a good relationship with the people on the team, who could work across disciplines, and who knew the story,” Epler explains. “You know, knew the franchise and its storytelling. Because I think for Dragon Age in particular, narrative is such a core part of the franchise’s identity. They wanted someone who could operate in that space, but also knew how to work with gameplay, work with design, work with art, and that was something that, with both QA and cinematics, I had learned to do. I think just a history of being always willing to do whatever was necessary and also having good relationships with most people on the team helped me out.” As creative director on Veilguard, Epler worked with a team that fluctuated in size from a dozen to several dozen depending on which phase of development it was in. And given Epler’s history with cinematic design, that team worked closely with narrative to craft the kind of epic story Dragon Age and Bioware are known for. “Storytelling is huge, probably the biggest part of Dragon Age: The Veilguard,” Epler reminds us."

---

"Paste: When you’re bringing back a series after a decade, how do you decide what threads to pick back up on, which characters to use, which lore to focus on, etc.? John Epler: It is going to sound very cliche, but it is true: It honestly comes as we build it. We knew a couple of core parts of the story. From the end of Trespasser, for good or for ill, we pretty much determined where we were going and what we were going to be doing. It was about the chase, the search for Solas. Solas had been very clear in his ambitions to end the world at the end of Trespasser. And, you know, at the end of the very final scene of Trespasser, we stabbed a knife, a dagger, into the map on Tevinter. So we kind of knew we wanted to go to Tevinter. We knew we wanted to chase Solas. Now that said, as the story started being constructed, and we discovered, okay, where else do we want to go, what characters make the most sense in this story, that kind of determines what lore threads we want to start pulling on. So without getting too much into spoilers, obviously, Scout Harding has a story that’s very focused on the dwarves and their history; Shery Chee started writing Harden’s ark, and realized, okay, this is actually something we’re going to want to dive into more deeply. Belarra’s story is very focused on the ancient elves, not just the gods, but who they were. So that became a lore thread we wanted to pull on.  As far as returning characters for us, it really does come down to who has the most to say about what’s going on in the world. Who is the most likely to be involved in this particular story. And I think, most importantly, this is something that we always talk about, is who has more to say in their story, whose story isn’t over. Because one of the things that I don’t necessarily want to do, I don’t want to bring back a character just so they show up and then disappear. That doesn’t necessarily do that character justice, but it also contributes to what you do see in some franchises, which is a sense of small world syndrome, where there’s literally 30 or 40 important people in this whole world, and they all somehow know each other.  But again, you know, you see Morrigan in the in the previews, and as we’re writing the stories like, well, of course, Morrigan, who is the daughter of Flemeth, who was at least an aspect of the goddess Mythal, one of the ancient elven gods, she probably has something to say or something to do in a story about the last two elven gods escaping. So, yeah, it comes down to who has something interesting to say, who has something more to say in their story, and who do we feel makes the most sense for where we’re going and what we’re doing."

"Paste: Sticking to the long gap between the last two games, what are the challenges in trying to make a satisfying continuation of that story without making it impenetrable for new players who maybe weren’t old enough to have really played Dragon Age in the past? John Epler: Well, I think it was funny because, on the one hand, yeah, the challenge is, you’re trying to tell another chapter of a story that’s been dormant for at this point nearly a decade. But it’s funny because I do think that actually ends up working to our benefit. For the second question, we cannot assume anything about what players remember. Because even people who were playing Origins, were playing Inquisition, all the DLC, they may not have done so for quite some time. And obviously some players are going to like—I mean, I see it all on social media, people doing their final Inquisition playthrough before Veilguard, which is great, but you have to assume that people don’t remember everything that happened. You have to re-onboard them back to the world, back to the lore, and you’re also bringing in new players. I think honestly, for Veilguard, one of the things that’s worked the most to our benefit is that this is a continuation of that story, but the context changes so dramatically within the first hour. You know you’re going after Solas, you know the first mission. We’ve always said we wanted it to feel like the last mission of a different game. But then you get to him, the ritual crumbles, the gods come out. And now, even if you’ve been following this story up to this point, for everyone, it’s just a sharp left turn. Solas is no longer the central antagonist of this at this moment, it’s now these two new figures, which means Rook, you know, you as a player character, but also the player themselves… You need to bring them back into this story, because nobody, including the people who’ve been playing forever, know what’s going on at this point. So it’s actually a really great way to do the first couple of hours, because you can’t assume everyone is coming into it with the same level of grounding in the story itself. Some people are gonna have more lore. And one of the things we do try to do is, anytime we introduce a proper lore term, I use Venatori as an example, we always try to pair it with a more commonly understood phrase. So “Venatori” and “cultists” always go together in the first few hours of the game. “Evanuris” and “elven gods” always go together in the first few hours of the game, but done in a way that doesn’t feel like the game is like, “Hey, don’t worry, we’re going to tell you everything.” It feels natural the way the people in the world talk about it. So you encounter Strike and Irelin, two of the Veil Jumpers, early on, and they use the terms interchangeably in a way that allows players who don’t know as much about the world to get what all these things mean. Like I said, it’s just the context of the stories. The story shifts so dramatically in those first couple hours that everyone is catching up, even the characters, even, you know, Harding is still trying to figure out what the heck is going on."

"Paste: Speaking of what’s going on, in Veilguard we have a new character as the protagonist, Rook. What’s happening with the Inquisitor and the protagonists from the first two games? What are they doing in this world now, assuming they survived their games? John Epler: One of our storytelling philosophies is, for us, especially when it comes to importing, is unless we explicitly say so, assume that those characters are still around. So what we do, because this is the story of Solas and the Inquisitor has a very direct tie to Solas, the Inquisitor does show up in Veilguard. I’m not going to tune into spoilers, or what the role is, but it would have been very strange for us to tell the story of Solas without having the Inquisitor involved, because, again, they were part of that story. As to the previous two protagonists, they’re still around; that said, their personal arcs, their stories that they were part of in their games, aren’t as directly tied into this story, either narratively or geographically. We’re now in the north of Thedas. So the Hero of Ferelden, who you know, if your hero survived, one of the things we talked about is they were looking for a cure to the Calling. They’re not going to necessarily be involved in this because they weren’t tied to the elven gods, and the blight is still present elsewhere. And Hawke, depending on what you did in Inquisition, may be deep in the Fade, or they may have gone to work with the Wardens and also engage with the Hero of Ferelden at some point. So we’re not going to say much about them because they’re not directly related to the story, but we want players to understand the fact that we’re not saying anything about them because they’re still alive. They’re still doing something."

"Paste: A lot has changed in the world of games and game design in the last decade. How has the creative process of creating a Dragon Age like Veilguard changed over that time? How was making Veilguard different than Inquisition? John Epler: I’d say the biggest change for me has been leaning much more heavily into pre-production on everything. So one of the things that we’d done on Inquisition, I was a cinematic designer on it, we didn’t really have the sense of storyboarding, of previsualization the way we do now. But with Veilguard, one of the things we did very early on is we built the entire story in Twine so we could play through and see the interaction points, see the word branch, and get the sense of how it was flowing, how it was coming together. Beyond that, very heavy use of previsualization, whether storyboards or actual white box, in-engine—or, I say “in-engine,” but, you know, in Maya—models, moving together, figuring out how these shots work. But I mean, ultimately, a lot of the same processes are in use now that we did then. Writing does peer reviews, they still do the same peer reviews. Take your work, you put it in front of the group, and you basically say tear it apart. Let me know what works, what doesn’t work. But I do think the other thing that’s been a great change since Inquisition is there’s a lot more sense of… if you’re building a level, you’re not just bringing in the level designers and level artists, you’re bringing in the gameplay people, you’re bringing in writing, you’re bringing in, you know, all these different groups to kind of build the feel, build the shape. Not to say Inquisition wasn’t collaborative, but I will say, as someone who worked on it, I felt much more like each pod was kind of an entity onto itself, you know, doing this thing, but not really touching the other parts of the game. In Veilguard, we very much wanted people to understand how their work fit into the whole that we were building. So there was a lot more sense of collaboration. And then, you know, more practically, COVID happened while we were making this game and brought work-from-home, remote work in general. I’m doing this interview from my basement right now, but in general, people are working more distributedly, so there becomes a much higher premium on communication. And like, we use Slack pretty extensively, and the sense of like, talking to people as much as you need to, as much as you can communicate broadly, and information sharing, I think, has become a much bigger part of it."

"Paste: So having the different departments less siloed, like it used to be, how has that impacted the day-to-day experience for a Bioware employee. Are they working more or less hours now that things are more collaborative? John Epler: I think it depends on who you are. And, I mean, I’d say generally less but again, it depends. I will say for myself, I have difficulty because of work-from-home. And this is a personal thing. I don’t always have the best separation between work and life because sometimes it’ll be like, nine o’clock at night and you’ll be like, oh, you know what? I just had this really great idea, I’m going to hop on and do something about it. That used to mean driving back to the office. So I will say now I’m not in the office, which is great. For me, one of the greatest things about this has been, I have a personal rule of I don’t ever do work between the time my kids come home and when they go to bed, which means I get to be fully involved as a parent. But then, like I said, 9:30 comes along [and the kids are in bed], and, you know, I think because I’m creative director, it’s a little bit different. I gotta jump in and be like, oh, I want to do this. So I think, you know, it depends on the person. But I think what it’s done is, in general, allowed a lot more freedom in defining your hours. And we do have some people who are not morning people, so maybe they don’t get up and jump on as early, but then I’ll see them later at night, and they’re doing the work that they would have done. And I think that freedom for me has been, and I think I can speak for a lot of people, has been probably the best part of how things have changed."

"Paste: So something else that’s changed in games over the last decade, I guess it really became standard right before Inquisition came out, and it’s something that’s been a constant problem for many people who are creatives in many different mediums. But some of the fans and fan accounts online and how they react to games and designers and games media, starting with what they call GamerGate. What are your thoughts on that type of fan interaction and how has it impacted the Veilguard team? John Epler: Anytime you get fan feedback, the question I always ask is, what is it that they’re actually saying? And, you know, sometimes it is literally what’s coming out, what they’re typing. But a lot of times, from whatever group it’s from, there’s a sense that they’re speaking to something deeper, something that’s, you know… I think ultimately, for me, it comes down to understanding and being confident in your vision which means you take the fan feedback, you can look at it, you can decide what you do or don’t do with it. But one of the most—I don’t want to say challenging, but one of, I think, the easiest traps to fall into is a feeling that you need to be, “oh God, they don’t like this, and they don’t like this, change this, change this.” And I think there’s a sense of, if you have a vision that you’re comfortable with, are confident in, you continue to stick with that vision, you can make make adjustments, make tweaks based on what people get excited or don’t get excited about. But I think the other side of it is, when you’re releasing news, you’re doing press events, you’re talking about the game, you’re only giving people a small slice and a decision that may, for them, like, “I cannot believe that, why would they do this,” makes a lot more sense when you know the context of the decision as a whole. And I’ll say it for myself, one of the bigger examples of this was when the Yakuza series went from action to JRPG, turn based RPG, and I’m like, “Oh, this is so weird. I don’t know. I don’t know how I feel about this. You know, this feels like a very strange shift.” When I played the game, like, “oh yeah, holy smokes, this makes so much sense.” They made it make sense narratively. They made it make sense from the gameplay perspective. So I always try to remind myself, like we know the game as a whole. We know all the pieces and how they fit together. When you get that feedback again, you can look at it. Some feedback is obviously better than others. Some feedback is more, you know, is more interesting, and more does more for us than others. But again, it comes down to know the game you’re building, be confident in the game you’re building, and don’t try to design by committee, because ultimately, everyone has a different thing that they want out of the game, and a lot of people, even themselves, will have two very contradictory things that they want out of a game. So you have to be careful not to overreact and water down what you’re building into something that I would describe as, you know, mushy. You don’t ever want to be in the mushy middle. You want to make a strong statement with your game and how your vision evolves, and stick with that."

"Paste: Where do you hope to see Dragon Age go from here? John Epler: Honestly, I love telling stories in this world, and I think one of the fun things about the ending of this game and some of the seeds that it sows for the future is the sense that everything you thought you knew, maybe you weren’t as right as you thought you were. And that stuff like using the unreliable narrator. It’s fun to be able to take that and apply it to things that you as a player experienced, and then see that there’s an additional layer. Context that you didn’t have at the time that now throws into questions some of what’s going on. So again, I’m trying to be as vague as possible to avoid spoilers. But I do like the idea of—because one of the things, the other side of it is Thedas is one continent in this world. There’s still a whole other world out there. And I think, you know, for myself, I kind of want to know what’s out there. I kind of want to know what’s going on in a world where, over the last 15 years, Thedas has almost ended the world three times by themselves. If you’re from a different continent, how are you feeling about that? I’m gonna guess, probably not great. So I think there’s a lot of fun stories to tell there. We haven’t said much about the rest of this world. So there’s just this giant blank canvas for us to start playing in, which I think is, for me, the most exciting thing about moving forward with this franchise."

[source]

[chongoblog]

SUPER MONKEY BALL: BANANA RUMBLE TRANSLATED

So I've mentioned a few times that there's a written language in this game. To my knowledge, I'm the only one who's been actively translating everything, so I figure I should post it. Shoutouts to viv for repeatedly reminding me to make this. It's gonna be a BIG post, so I'm putting it under the cut

If you wanna see all the cool work put into this (or if you're a puzzle solver who wants to help crack a code I'm hoping to crack) then journey onward

So first of all, here is the code as we have it (as rough estimations made by yours truly)

Over the course of this post, I also found out the numbering system (as you'll see once we reach Oceanus), so here's how numbers work, although they appear rarely

Some of them vary depending on handwriting, but this should do a good job of telling you which is which.

This game isn't lying to you, that book DOES say "Journal". And each goal is labeled as such and has a sticker saying "Monkey Resort"

Here are all the brochures for each world (you may need to click to enhance). Caelum's is definitely the most interesting, but these helped me a ton to figure out the language.

The hat reads "SMB"

Here's a collection of a bunch of little misc. translations

Here's a whole section just covering Neon Arena

This section turned out to be huge, because a lot of figuring out an upcoming section is partly thanks to this one (I literally just now confirmed what X looks like with Boxing, and as a lesser note, I think we not have confirmation on numbers. Yahoo). Anyway, I don't know why it says meme, but I don't care

Anyway, here's Palette's diary that shows up during the credits completely translated (spoilers of course)

Now for the real meat and potatoes. Oceanus. What's interesting about Oceanus is that a lot of the writing is flipped for whatever reason, and it translated out to mostly gibberish (AND it used numbers). Very interesting way to portray what's supposed to be a dead language. There are multiple square panels which each include 35 characters (except one I think?) and a few circles that have 20 characters apiece in them. Is it meant to just be gibberish? I don't think so. The way it's hidden and formatted doesn't seem like an afterthought (especially when you take a look at how much writing IS in the game) I haven't had any luck making sense of them, but if it means anything to you guys, let me know!

Anyway, that does it for the codes for now! I think I missed pasting a couple of these (for example, the card that Easel leaves in Story Mode and the Easel card item in battle mode says "Preliminary Notice" on it). If you have any questions or any leads on this Oceanus stuff, let me know!

[whumpinggrounds]

Overused Disability Tropes

Woohoo here we go. I expect this one to be a bit more controversial because I am using specific media as examples. I would really prefer if, when critiquing this post, you avoid defending specific media, and focus instead on what’s actually being said/represented about disabled communities. If you feel I’ve done a really grave injustice, you can come into my askbox/DMs/replies to talk to me about it, but I might not answer.

One more time: I am not interested in getting into a debate about whether something is a good show/movie/book/whatever. I’m not telling you it’s bad, or that you shouldn’t enjoy it! People can like whatever they want; I am only here to critique messaging. Do not yell at me about this.

Newest caveat aside, let’s get into it!

Inspiration Porn

Without a doubt, our biggest category! Term coined in 2012 by badass activist Stella Young, but the trope has been around for literal centuries. There are a few different kinds that I will talk about.

Disabled character/person is automatically noble/good because of their disability. A very early example would be A Christmas Carol’s Tiny Tim, or, arguably, Quasimodo from The Hunchback of Notre Dame. Real life examples include the Jerry Lewis MDA telethon, or children’s hospital ads that exploit sad-eyed kids with visible illness or disability.

Having a disability does not automatically make you a kind/angelic/noble person. This many not seem harmful, and may even seem positive, but in reality, it is condescending, inaccurate, and sets bizarre standards for how disabled people should behave.

This portrayal is often intended to elicit pity from abled audiences, which is also problematic.

In these portrayals, disability is not something to be proud of or identify with, only something to be suffered through.

Disabled character person does something relatively mundane and we all need to celebrate that. This is less common in writing, but happens in the real world when people do things like post pictures of disabled people at the gym captioned “What’s your excuse?”

This is condescending, and implies that anything disabled people are capable of, abled people are automatically capable of.

Makes it seem like it’s an incredible feat for a disabled person to accomplish tasks.

Uses people’s actual lives and actual disabilities as a reminder of “how good abled life is.”

The “Supercrip” stereotype is a specific kind of inspiration porn in which disabled people are shown to be capable of amazing things, “in spite of” their disability.

The Paralympics have been criticized for this, with people saying that advertisements and understandings of the Paralympics frame the athletes as inspiring not because they are talented or accomplished, but because their talents and accomplishments are seen as “so unlikely.”

Other examples include the way we discuss famous figures like Stephen Hawking, Alan Turing, or even Beethoven. Movies like The Theory of Everything and The Imitation Game frame the subjects’ diagnoses, whether actual or posited, as limitations that they had to miraculously break through in order to accomplish what they did. Discussions of Beethoven’s deafness focus on how incredible it was that he was able to overcome it and be a musician despite what is framed as a tragic acquisition of deafness.

The pity/heroism trap is a concise way of defining inspiration porn. If the media you’re creating or consuming inspires these emotions, and only these emotions, around disability, that is a representation that is centered on the feelings and perceptions of abled people. It’s reductive, it’s ableist, and it’s massively overdone.

Disabled Villains

To be clear, disabled people can and should be villains in fiction. The problem comes when disabled people are either objects of pity/saintly heroes, or villains, and there is no complexity to those representations. When there is so little disabled rep out there (less than 3.5% of characters in current media), having a disabled villain contributes to the othering of disability, as well as the idea that disability can make someone evil. There are also a few circumstances in which particular disabilities are used to represent evil, and I’ll talk about how that’s problematic. 

Mentally ill villains are colossally overdone, particularly given that mentally ill people are more likely to be the victims of violence than perpetrators of it.  This is true of all mental illness, including “””scary””” things like personality disorders or disorders on the schizoaffective spectrum. Mental illness is stigmatized enough without media framing mentally ill people as inherently bad or more suspectible to evil. This prejudice is known as sanism.

Explicit fictional examples of this include the Joker, or Kevin Wendell Crumb in Split.

People can also be coded as mentally ill without it being explicitly stated, and that’s also problematic and sanist. In the Marvel movie Doctor Strange and the Multiverse of Madness, Wanda’s appearance and behavior are coded as mentally ill. This is used to make her “creepy.” Horror movies do this a lot - mental illness does not render someone creepy, and should not be used as a tool in this way.

Visible disability or difference to indicate evil is another common, incredibly offensive, and way overdone trope. This is mostly commonly done through facial difference, and the examples are endless. These portrayals equate disability or disfigurement with ugliness, and that ugliness with evil. It renders the disabled villain in question an outcast, undesirable, and uses their disability or difference to dehumanize these characters and separate them from others. This is incredibly prevalent and incredibly painful for people with visible disability or facial difference.

An example of visible disability indicating evil is Darth Vader’s prosthetics and vastly changed physical appearance that happen exactly in time with his switch to the dark side. In contrast, when Luke needs a prosthetic, it is lifelike and does not visually separate him from the rest of humanity/the light.

Dr. Who’s John Lumic is another example of the “Evil Cripple” trope.

Examples of facial difference indicating evil range from just about every James Bond movie, to Scar in the Lion King, Dr. Isabel Maru in Wonder Woman, Taskmaster in Black Widow, Captain Hook in Peter Pan, and even Doofenschmirtz-2 in Phineas and Ferb the Movie. Just because some of the portrayals are silly (looking at you, Phineas and Ferb) doesn’t make the coding of facially scarred villains any less hurtful.  

A slightly different, but related phenomenon I’ll include here is the idea of the disability con. This is when a character fakes a disability for personal gain. This represents disabled people as potential fakers, and advances the idea that disabled people get special privileges that abled people can and should co-opt for their own reasons. 

In The Usual Suspects, criminal mastermind Verbal Clint fakes disability to avoid suspicion and take advantage of others. In Arrested Development, a lawyer fakes blindness in order to gain the sympathy and pity of the jury.

In much more complex examples such as Sharp Objects, a mother with Munchausen by proxy fakes her daughter’s illness in order to receive attention and pity. Portrayals like this make Munchausen or MBP seem more common than it is, and introduce the idea that parents may be lying or coaching their children to lie about necessary medical treatment.

Disability as Morality

Sometimes, the disabled character themselves is a moral lesson, like Auggie in Wonder. Sheerly through existing, Auggie “teaches” his classmates about kindness, the evils of bullying, and not judging a book by its cover. This also fits well under inspiration porn. This is problematic, because the disabled character is defined in terms of how they advance the other characters’ morality and depth.

In the “Disabled for a Day” trope, an otherwise abled character experiences a temporary disability, learns a moral lesson, and is restored to full ability by the end of the episode/book/movie. Once again, disability is used as a plot device, rather than a complex experience, along with more permanent disability being rejected as impossible for heroes or main characters.

Examples include an episode of M*A*S*H where Hawkeye is temporarily blinded, an episode of Law and Order: SVU where Elliott Stabler is temporarily blinded, and an episode of Criminal Minds where Agent Hotchner experiences temporary hearing loss.

Real life examples include sensitivity trainings where participants are asked to wear a blindfold, headphones, or use a wheelchair for a given amount of time. This does not impart the lived experience of disability. It should not be used as a teaching tool. 

Disabled people as inherently pure. This is related to inspiration porn and disabled people as noble, but is different in that it is usually appears in combination with developmental, cognitive, or intellectual disabilities. These characters are framed as sweet, “simple,” and a reminder to other characters to be cheerful, happy, or grateful.

Examples include Forrest Gump, Rain Man, I Am Sam, and What’s Eating Gilbert Grape.

No matter what the stereotypes of a given diagnosis are (yes, I’m thinking of the automatic cheerfulness associated with Down Syndrome), disabled people have personalities. They are capable of being sad, angry, sarcastic, irritable, annoying - any number of things beyond good/sweet/pure. It is reductive to act otherwise.

Disability as Surreal

Less common than some of the others, but still worth thinking about!

Disabled characters are framed as mystical, magical, or other than human, a condition that is either created by or indicated through their disability status. This is especially common with little people.

“Disability superpower” is when a character compensates for, or is uniquely able to have a superpower because of, their disability. Common tropes include the Blind Seer, Blind Weapon Master, Genius Cripple and Super Wheel Chair.

Examples include Pam from Supernatural, Charles Xavier from X-Men, or the grandpa in Spy Kids.

Disability as Undesirable

Last and least favorite category here. Let’s go.

Disabled people as asexual or not sexually desirable. Disabled people can be asexual, obviously. When every portrayal is asexual, that’s a big problem. It frames disabled people as sexually undesirable or implies that it is impossible for people with disabilities to have rewarding, mutually satisfying sexual relationships.

Examples include The Fault in Our Stars or Artie in Glee.

Abandoned due to disability. Hate this trope. Often equates disability with weakness. Don’t want to talk about it. It’s all right there in the title. Don’t do it.

Examples: Quasimodo in Hunchback of Notre Dame, several kittens in the Warrior Cat series, several episodes of Law and Order: SVU, Bojack Horseman, and Vikings.

Discussed in 300 and Wolf of Wall Street.

Ancient cultures and animal nature are often cited as reasoning for this trope/practice. This is not founded in fact. Many ancient civilizations, including Sparta, cared for disabled people. Many animals care for disabled young. These examples should not be used to justify modern human society.

Disabled characters are ostracized for disability. Whether they act “““normal”““ or odd, characters with visible or merely detectable disabilities are treated differently.

Examples include pretty much every piece of media I’ve said so far. This is particularly prevalent for people with visible physical disabilities or neurodivergence. Also particularly prevalent for characters with albinism.

This is not necessarily an inaccurate portrayal - disabled people face a lot of discrimination and ableism. It is, however, very, very common.

Bury your disabled. What it says on the label.

Examples: Animorphs, Harry Potter and the Deathly Hallows, American Horror Story, Criminal Minds, Dr. Who, Star Trek, The Wire.

Mercy killing is a subtrope of the above but disgusting enough that it deserves its own aside. I may make a separate post about this at some point because this post is kind of exhausting and depressing me.

Examples: Me Before You, Killing Eve, Star Trek: The Next Generation, Of Mice and Men, and Million Dollar Baby.

Disability-negating superpowers imply that disability is undesirable by solving it supernaturally instead of actually portraying it, and giving their character powers instead.

Examples include (arguably) Toph from Avatar: the Last Airbender, Captain America: The First Avenger, The Legend of Korra, Dr. Strange, and Daredevil.

Overcoming disability portrays disability as a hindrance and something that can be defeated through technology and/or willpower.

Fictional examples include WALL-E, Kill Bill, The Goonies, The Dark Knight Trilogy, Heidi, The Secret Garden, The Inheritance Cycle, Agents of S.H.I.E.L.D, The Big Bang Theory, Dr. Strangelove, Sherlock, The Witcher.

Real life examples include videos of wheelchair users standing from their chair to walk down the aisle at a wedding, or d/Deaf children “hearing” for the first time through cochlear implants.

What Does This Mean for Your Writing?

First of all, congratulations for making it this far!

Now, as I have said again and again, I’m not going to tell you what to write. I’ll ask some questions to hopefully help guide your process.

What tropes might you be playing into when writing disabled characters? Why do you find these tropes compelling, or worth writing about? How prevalent are these tropes? How harmful are they? What messages do they send to actual disabled people?

Just because they are common tropes does not mean they are universally awful. Cool fantasy or futuristic workarounds are not necessarily bad rep. Showing the ugly realities of ableism is not necessarily bad rep. It’s just a very, very common representation of disability, and it’s worth thinking about why it’s so common, and why you’re writing it.

As always, conduct your own research, know your own characters and story, and make your own decisions. If you have questions, concerns, or comments, please hit me up! Add your own information! This is not monolithic whatsoever.

Happy writing!

[linkspooky]

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!

[goldengleams]

another cinderella story | l. hughes

summary: after your masquerade dance, you invite luke back to your house to watch a movie that’s right on theme. will he be your prince charming?

word count: 1.8k

author’s note: oh it’s just me being active and posting again!! so excited to be on break for the summer and finally have some free time! this was inspired by an experience i had with a friend and it was so fun to write, so please show some love by reblogginh or liking! leave some requests or messages in my inbox for fun! 🤍

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You pulled your coat around your shoulders as the chilly winter air nipped at your exposed skin, making the climb out of the Uber and the walk to your house that much more dreadful. Your night at your sorority formal had been a blast. This year, there was a masquerade theme and you had gotten lucky enough that your formal was on a non-hockey weekend so that you could invite your close friend, Luke Hughes.

The two of you had had a fun night with your sorority sisters and a few of his teammates who had been invited. Before you left, the drinks had been flowing at your pregame, so you had felt extra loose on the dance floor with Luke as your date.

“Thank you, have a good night,” you said to the driver. Luke quickly climbed out of the car to join you and speedwalk inside.

“I think the cold just completely sobered me up,” you grumbled.

Luke laughed from behind you. “Yeah, you did go a little hard after we finished our bottle of champagne.” You let out a soft groan at the reminder that you and Luke had been handcuffed to each other earlier in the night to complete your champagne and shackles challenge.

“I only had a one dirty shirley but I knew that stupid bottle of champagne would fuck me up,” you said, laughing as you recalled your tipsy self earlier in the night.

“I thought you handled it well, you only tripped three times walking in,” Luke teased. It wasn’t your fault that your best friend had made everyone drink the champagne in a race.

“Well, you knew I wasn’t going to lose to Luca and Bella in the drinking game!”

You and Luke reached the front door of your sorority house and you scanned in. Unsurprisingly, the house was empty, the other girls still at the formal venue or planning to stay with their dates for the night.

You shrugged off your coat and Luke hung it up on the coat rack in the closet along with his own. He had been over to your sorority house many times to study and hang out with you, so he knew where just about everything was.

“I was gonna bring some popcorn and those chocolate covered pretzels upstairs,” You called from the kitchen. Luke came in a moment later, still looking handsome in his button down and dress pants. You wouldn’t admit to it, but your eyes did linger on the contour of his muscles that was evident through his shirt. “I still can’t believe you’ve never seen Another Cinderella Story!”

“Jack and Quinn weren’t exactly interested in Disney Channel at that age, so blame them next time you see them,” Luke laughed. “How does this relate again?”

You huffed out a breath. “It’s a cultural masterpiece because Selena Gomez’s character goes to a masquerade ball where she dances with the Joey Parker, who is the celebrity in the movie,” you explained while walking up the stairs. Luke followed behind you, intently listening to your words. It was hard to ignore his eyes as he focused on you. “And since we just went to the masquerade dance, it’s a must!”

“So she’s the one playing Cinderella?”

“Yeah and she’s a really good dancer but her evil stepmother, who is played by Jane Lynch, of course, won’t let her be with him. It’s cinematic, I swear Luke.”

Luke’s eyes followed your form as you walked up the stairs. Your dress clung to you in all the right spots and your heels you had worn had made your legs look even longer than usual. He tried not to watch as your hair flowed behind you, the new style making him want to stare at you all night.

“Alright, I’ll get this masterpiece of a film set up, so get the snacks ready!”

Luke took a seat on your futon and you quickly clicked on Disney Plus to turn on the movie. You had started to feel too overdressed in your outfit, so you grabbed a pair of pajama pants and a Michigan hockey t-shirt to change into.

“Nice shirt,” Luke said when you walked back into your room. His eyes had gone straight to your shirt and seeing your choice of attire made him smile.

“Don’t be flattered, it was the first one in my drawer,” you said, shrugging your shoulders. You quickly grabbed a hair tie to put your hair up in a bun in front of your mirror. You didn’t expect Luke to be watching you as you turned back to join him where he was sitting.

“You look nice,” he said softly. You furrowed your eyebrows.

“In my pajamas?”

“You always look pretty, Y/N.”

You wanted to question what he meant but he turned away and focused back on the television. Recently, you had started feeling like yours and Luke’s relationship was bordering on the “more than just friends” line. He had made it a point to see you as much as he could, which ended up being just about every day. Your friends in your house had started teasing you more and more about how oblivious you were to Luke’s flirting.

You settled in next to Luke and shivered a little, pulling the blanket he grabbed closer to you.

“Come here,” Luke said, opening his arms for you to slide closer to him. The snacks still separated you from the hockey player. You told yourself it was just for warmth, that your sorority house had been known to be drafty in the wintertime.

“You cold?” You teased.

“No, but I know you always are. Your hands are always freezing and you wear, like three layers of clothing everyday, Y/N,” Luke joked. You couldn’t believe Luke paid attention to you like that.

Was it normal to have butterflies for your best friend during a Disney Channel Original Movie?

About an hour into the movie, lots of yelling at Jane Lynch, and one dance break later, you felt your eyelids start to droop. You sat up a little straighter, trying to stay awake to finish the movie with Luke but your night was catching up to you. You could feel him looking at you as you tried to stifle a yawn.

“We can save the rest of the movie for another day if you want,” Luke offered as he paused the movie.

You quickly shook your head. “I can’t leave you in suspense about what happens to Mary Santiago and Joey Parker, Luke. That would be a crime to DCOMs and to you.”

Luke pressed play once again, enjoying how excited you were about the movie and not wanting to miss spending any time with you. “You can rest your head on my shoulder if you want to, Y/N.”

You gave in, resting your head on Luke’s shoulder and cuddling up next to him. You weren’t sure what territory this put you into, since this seemed to be more intimate than anything you’d ever done before. You smelled Luke’s cologne as you moved closer, feeling his arm wrap around you as he welcomed your presence closer to him.

You knew you were a goner right then and there, because three minutes later, you were pressed against his shoulder letting out soft, steady breaths with your arm wrapped around Luke’s stomach. Luke didn’t notice you were asleep until a few minutes later, assuming you had just been watching the movie. He smiled at the sight of you curled up next to him and took in your facial features. After being friends for over a year, he had discovered so many things about you that made him want to be around you even more.

Luke let the movie run on, only half paying attention to what was happening. He had been excited when you asked him to be your date for the night, knowing that there were other guys, including a few of his teammates, who found you very attractive. He would have gone anywhere you had asked him, quite honestly, but the dance was fun and your post-dance plans of showing him one of your comfort movies only made his heart swell more. Even though dancing wasn’t his thing, he knew it was yours, and it made him excited just to see you happy.

Once the film was ending, he reached for the other blanket that was resting on the arm of the couch, not realizing that the remote was right there. The small black box clattered to the ground hit the side of the couch just right so that the sound went up, jerking you awake.

You were so surprised by the sound that you almost didn’t realize you had been asleep on Luke’s shoulder.

“Shit, I’m sorry!”

Luke quickly bent over to get the remote off the ground which gave you a minute to take in the song playing.

“Oh my god, did I fall asleep?” As a true DCOM fan, you knew that Selena Gomez’s song played at the end as the credits were rolling.

“Uh yeah, but not for long. You only missed her and Joey at the end,” Luke said. He placed the remote in between the two of you, since you had moved away from him in your haste to wake up.

“Gosh, I’m sorry Luke. I didn’t mean to,” you said, feeling embarrassed. You had spent the night trying to impress Luke and now you had probably drooled on his nice shirt.

“No, no don’t be. I was trying to cover you up with another blanket and I dropped it by accident.”

You both sat in an awkward silence before Luke cleared his throat.

“You’re cute when you sleep.” You rolled your eyes at his comment.

“I should’ve known my date was a stalker,” you teased.

“Thank you for inviting me, by the way. I had a really great time,” Luke said sincerely. You felt a flush on your cheeks.

“Even though I got a little too tipsy and fell asleep on you?” You questioned semi-seriously.

“Especially because you got tipsy and fell asleep on me,” Luke chuckled. “I’m glad you feel comfortable with me, Y/N.”

“Of course I feel comfortable with you, Luke. We’re friends.”

Luke quickly looked at you with a smirk on his face before huffing out a laugh and shaking his head. He wanted to say something, you knew all of his tells.

“What’s so funny?” You questioned.

“Nothing, I just wish we wouldn’t keep doing this song and dance. We’re worse than Mary and Joey, Y/N.”

Luke took your hand into his. “What do you mean Luke?”

Luke brought his hand to your cheek, the space between the two of you on the couch eliminated as he moved closer. His eyes dipped to your lips, silently asking you a question that you both already knew the answer to.

You nodded, leaning into his touch and pressing your lips against his. Cliche as it sounds, you felt like one of the girls in a Disney movie, kissing your Prince Charming.

Luke pulled away first to smile at you. “Took us long enough, huh? C’mere my Cinderella.”

You giggled and kissed him again, already planning your first anniversary and rewatching of Another Cinderella Story in your head.

———————————————————————

[drenched-in-sunlight]

"Marika becomes the sum of all the Fromsoft girlies" is nice but you forgot Nashandra who actually has parallels with Marika! Recommending to check it out, she's cool!

let’s get this out of the way now… I love DS2, I think the vibe and gameplay is immaculate and I’ll defend it as a whimsical and enjoyable videogame experience till the end of time.

But my god, I hate how they handle female characters in that one 💀

In fact, I don’t like how they handle female characters in DS franchise in general. It got a bit better in Bloodborne and Sekiro and especially AC6, but overall ever since I started playing Fromsoft game in 2020, my main gripe with them is they only have 2 tropes to shoehorn their female character into: helpless victim of a system that would mangle and exploit them OR serious sword lady. And if I’m being real, it’s the main gripe I have with Elden Ring base game too?

I didn’t discuss it on tumblr because back then I were still trying to keep this blog art-focused, but when the game came out in 2022, I did express my concern on twitter that I found the female characters cast… strangely lacking. Because I went into the game expecting Ema-level of writing (literally Sekiro’s Ema is one of the best female characters Fromsoft has ever written to this day I could and have talked ppl’s ears off about her. And I’m glad she on her own is very different from Marika. That means they could at least write 2 more types of female characters now the bar is on the floor but I’ll take it and cherish what I have), but it felt like they got reset back to DS franchise with ER base game.

(This has an added layer of me being a girl born, raised and lived in a Sinosphere country that is entrenched in Confucius values just like Japan, so yes I do understand and experience firsthand the underlying culture values that shapes their writing. Hell, I live and study postgraduate in Japan for 2 years too).

But we are going off track, this is about DS2. Now, my problem with DS2 is, see, with 1 or 3, the female characters either have very little agency or no agency at all. And it just…. be like that. The male characters are somewhat the same, so it really doesn’t bother me that much. The cool, unique, not sexualized design is enough. But 2?

2 has a lot of female characters…. who either play no role in the world setting or sinister figures that charm men and bring ruins to kingdoms? What?

(Before anyone says “but Lucatiel—” Lucatiel is the beacon of light in that game, yes, but at the same time her purpose centering around her brother is… also a problem I have with the way they handle Malenia’s story. My Fromsoft experience has lore to it as well jfc)

Like, it’s just ??? to me half of those women have no agency or backstory whatsoever apart from being the Dark’s daughters that would bring doom everywhere they go??? You can say everything wrong in DS2 world is their fault and I actually wouldn’t have much to argue. Actually, it’s interesting you bring up Nashandra because I do think Nashandra has parallel in Elden Ring. But not to Marika.

Nanaya.

That’s who reminds me of Nashandra in Elden Ring. Literally the mysterious, lowkey nefarious lady and her old man husband with questionable dynamic DS2 trope 🧍‍♀️ you can actually see that in their name too.

If I have to pick a character in DS franchise specifically to make parallel to Marika, it’ll always be Gwynevere. Because I honestly think it’s amazing they took a character that has the least amount of agency they’ve ever created, and turned the core concept of her (warmth, healing spells, sunlight, mother, daughter, queen, faith) into another character with actual good writing.

That’s why I didn’t include Nashandra in my previous post. Not because I don’t know about her. It’s because I know.

[luciferanalyzestar]

Live Reaction: Ghostfuckers

Spoilers of course. I still hate the title of this episode. 0/10 for that alone. This post is just my unfiltered thoughts.

Look the other WLW couple in the Hellaverse! Forgot their names though.

Me thinking about how this show is slowly going downhill. /lhj Why is Blitz 'sulking' over Stolass?? Out of all the characters, he is sulking over the classist asshole who fetishize him for his species.

Man, I wish we saw more of that hard work. Not "yaoi." that overstayed its welcome. There is that Helluva cringe I love so much. /s

Ew. Blitz is fucking nasty. Ugh. More unfunny sexual jokes.

The American™️ experience.

Good!! Stolas is again, a classist species fetishizer. I do not Blitz that much, but he deserved someone better than the owl fucker. He needs to go to therapy first though.

Loona's attitude is fucking weird. She is 22 years old, why she calling Millie who is around 25-30 years old "grandma"??? If she was a teenager that would make sense, but she is an adult. Her insults suck pure ass. Like her calling Mooxie 'fat'. Send her ass back to that pound. /lhj

The word of the day is: FUCK FUCK FUCK FUCK

Viv and the other writers need to learn new swear words.

The sex jokes are so bad. They are not even at high school level, more like middle schooler who laughs when seeing Bitch in the dictionary level.

This show overuses bitch too. There is no PUNCH to it anymore. It is like a sound bit at this point. I love this old man. Why does Blitz tell Mille to "Look out, he's a patriot!" like it is bad thing? He is a true definition of one unlike a certain party.

The song sucks. They truly peaked in Ozzie's and never returned to that level. YES MILLIE! Tell Blitz how you truly feel. That piece of shit has not paid you in weeks and was too busy buying cheap trash.

Remind of me of that faceless Squall moment in Final Fantasy VIII. I Never played the games though. I just know about it thanks to horror youtubers. I love me some good body horror. They finally took Blitz's mom out of the fridge. I am sorry but this scene is making me laugh. Her eye popping out is looks goofy. It like a zany cartoon from the 90s.

Backstory time? The dialogue is not natural in this scene. Blitz is saying some self-hating stuff and Millie is going "Do you remember" like she is Earth, Wind, and Fire. Imagine venting to someone about hating yourself and that you destroy everything you touch, and they say, "Remember how we met?" Blitz's response would be mines. "What?"

"Imps don't work for themselves, asshole."

I wish that show was still about this. A person from a lower class trying to work his way to the top. If that show would be more impactful and would be remember as the edgy demon show with an inspiring message that everyone would relate to or inspire to be. Not the sex joke obsessed demon show with awful writing and the main "appeal" is rotten yaoi. Anyway, the fight scene was fine. Loona looks off model when she has an happy expression. I am used to that aloof and pissed off expression she always have.

"He's my best friend."

Blitz is your best friend?? This is the most time y'all interacted with each other on scene. This is the first conversation Mille and Blitz has ever had. We are almost done with Season two by the way.

This show just loves to traumatize Blitz. I wish he relived his traumatizing experiences in a more natural way. Like seeing certain objects or hearing certain sounds makes him hyperventilate or sends him into the beginning of a panic attack. I have no issues with characters having trauma or PTSD, but it seems like Blitz's trauma is a part of his character to make him seem more interesting as the protag instead of telling how trauma can truly change and mold a person into something different. There are just sprinkles of this. Blitz puts a facade of being an foul mouthed asshole because he does not want to get attached to people, from the trauma of killing his own mother, and etc. I wish it was not this Clockwork Orange type shit. This is 100% a post for another day.

"Your level of insecurity is intoxicating." Rolando should visit the Hazbin hotel. The insecurity levels are off the charts in that place. /lhj "Tonight I'm Blitz Demon-Dicker!" That is pure cringe right there.

Blitz trying to have sex with the M&Ms was always creepy to me because the idea of a boss trying to sleep with his employees is gross. Stick to signing their paychecks, not being in-between their sheets. Blitz being jealousy of their relationship is fine; it should never have crossed into sexual territory.

Episode rating: 7.5/10

None of the jokes made me laugh which is the usual for me. That Blitz's mom scene is unintentional comedy though. Rewatching, it made me laugh again and of course there is a pin design of that scene too. This is Tilla's first real merch. Good for her. Of course they made merch for the one off. Someone is out there emptying their bank account to have a "complete collection" because they just love dropping merch back-to-back.

Lazy ass shit right here. Who in their damn mind would buy this? Better than that slurs shirt though. I have to talk about the Helluva merch, but they are doing recolors now. What is this a fighting game?

Back on topic, this episode actually kept my attention unlike Full Moon and Apology Tour. Watching those episodes made me want to start drinking. Just alright episode, one of the better ones for a season that was about to rot. I am starting to like Millie more; it is nice to see her talk to a character that is not Mooxie.