#question what you define as authority and WHO has authority and WHY they have authority

[handsomegentlebutch]

also relating to people calling palestinian gfms scams... the "trusting third parties with no authority" thing from that person and people like them really gets me. bc that person on their first blog claims to be anti-fash and anti-cop. and yet... need to see some authority from people vetting fundraisers. like. yes please, tell me, white western tumblr user that claims to be a leftist, what ARE your ideas about authority? and whose authority do you deem valid, my fellow whitey? is it, perhaps, that you only view white, western "authority" as valid? that only white, western institutions have "authority"? why is this "authority" so important to you, so-called anti-fascist and anti-cop white leftist? is it, perhaps, that your ideas about what gives a person or entity "authority" is steeped in racism and western ideas of what "authority" is?

[fictionstudent]

How to pull off descriptions

New authors always describe the scene and place every object on the stage before they press the play button of their novels. And I feel that it happens because we live in a world filled with visual media like comics and films, which heavily influence our prose.

In visual media, it’s really easy to set the scene—you just show where every object is, doesn’t matter if they’re a part of the action about to come or not. But prose is quite different from comics and films. You can’t just set the scene and expect the reader to wait for you to start action of the novel. You just begin the scene with action, making sure your reader is glued to the page.

And now that begs the question—if not at the beginning, where do you describe the scene? Am I saying you should not use descriptions and details at all? Hell naw! I’m just saying the way you’re doing it is wrong—there’s a smarter way to pull off descriptions. And I’m here to teach that to you.

***

#01 - What are descriptions?

Let’s start with the basics—what are descriptions? How do you define descriptions? Or details, for that matter? And what do the words include?

Descriptions refer to… descriptions. It’s that part of your prose where you’re not describing something—the appearance of an object, perhaps. Mostly, we mean scene-descriptions when we use the term, but descriptions are more than just scene-descriptions.

Descriptions include appearances of characters too. Let’s call that character-descriptions.

Both scene-descriptions and character-descriptions are forms of descriptions that we regularly use in our prose. We mostly use them at the beginning of the scene—just out of habit.

Authors, especially the newer ones, feel that they need to describe each and every nook and cranny of the place or character so they can be visualized clearly by their readers, right as the authors themselves visualized them. And they do that at the start of the scene because how can you visualize a scene when you don’t know how the scene looks first.

And that’s why your prose is filled with how the clouds look or what lights are on the room before you even start with the dialogues and action. But the first paragraph doesn’t need to be a simple scene-description—it makes your prose formulaic and predictable. And boring. Let me help you with this.

***

#02 - Get in your narrator’s head

The prose may have many MCs, but a piece of prose only has a single narrator. And these days, that’s mostly one of the characters of your story. Who uses third-person omniscient narrator these days anyway? If that’s you, change your habits.

Anyway, know your narrator. Flesh out their character. And then internalize them—their speech and stuff like that. Internalize your narrator to such an extent that you can write prose from their point-of-view.

Now, I don’t mean to say that only your narrator should be at the center of the scene—far from it. What I mean is you should get into your narrator’s head.

You do not describe a scene from the eyes of the author—you—but from the eyes of the narrator. You see from their eyes, and understand what they’re noticing. And then you write that.

Start your scene with what the narrator is looking at.

For example,

The dark clouds had covered the sky that day. The whole classroom was in shades of gray—quite unusual for someone like Sara who was used to the sun. She felt the gloom the day had brought with it—the gloom that no one else in her class knew of.

She never had happy times under the clouds like that. Rain made her sad. Rain made her yearn for something she couldn’t put into words. What was it that she was living for? Money? Happiness?

As she stared at the sky through the window, she was lost in her own quiet little corner. Both money and happiness—and even everything else—were temporary. All of it would leave her one day, then come back, then leave, then come back, like the waves of an ocean far away from any human civilization in sight.

All of it would come and go—like rain, it’d fall on her, like rain, it’d evaporate without proof.

And suddenly, drops of water began hitting the window.

You know it was a cloudy day, where it could rain anytime soon. You know that for other students, it didn’t really matter, but Sara felt really depressed because of the weather that day. You know Sara was at the corner, dealing with her emotions alone.

It’s far better than this,

The dark clouds covered the sky that day. It could rain anytime soon.

From her seat at the corner of the room, Sara stared at the sky that made everything gray that day. She…

The main reason it doesn’t work is that you describe the scene in the first paragraph, but it’s devoid of any emotions. Of any flavor. It’s like a factual weather report of the day. That’s what you don’t want to do—write descriptions in a factual tone.

If you want to pull off the prior one, get to your narrator’s head. See from their eyes, think from their brain. Understand what they’re experiencing, and then write that experience from their POV.

Sara didn’t care what everyone was wearing—they were all probably in their school uniforms, obviously, so I didn’t describe that. Sara didn’t focus on how big the classroom was, or how filled, or what everybody was doing. Sara was just looking at the clouds and the clouds alone, hearing everybody just living their normal days, so I mentioned just those things.

As the author, you need to understand that only you, the author are the know-it-all about the scene, not your narrator. And that you’re different from your narrator.

Write as a narrator, not as an author.

***

#03 - Filler Words

This brings me to filler words. Now, hearing my advice, you might start writing something like this,

Sarah noticed the dark clouds through the window. She saw that they’d saturated the place gray.

Fillers words like “see”, “notice”, “stare”, “hear” should be ignored. But many authors who begin writing from the POV of the characters start using these verbs to describe what the character is experiencing.

But remember, the character is not cognizant of the fact that they’re seeing a dark cloud, just that it’s a dark cloud. You don’t need these filler words—straight up describe what the character is seeing, instead of describing that the character is seeing.

Just write,

There were dark clouds on the other end of the window, which saturated the place gray.

Sarah is still seeing the clouds, yeah. But we’re looking from her eyes, and her eyes ain’t noticing that she’s noticing the clouds.

It’s kinda confusing, but it’s an important mistake to avoid. Filler words can really make your writing sound more amateurish than before and take away the experience of the reader, because the reader wants to see through the narrator’s eyes, not that the narrator is seeing.

***

#04 - Characters

Character-descriptions are a lot harder to pull off than scene-descriptions. Because it’s really confusing to know when to describe them, their clothing, their appearances, and what to tell and what not to.

For characters, you can give a full description of their looks. Keep it concise and clear, so that your readers can get a pretty good idea of the character with so few words that they don’t notice you’ve stopped action for a while.

Or can show your narrator scanning the character, and what they noticed about them.

Both these two tricks only work when a character is shown first time to the readers. After that, you don’t really talk about their clothing or face anymore.

Until there’s something out of the ordinary about your character.

What do I mean by that? See, you’ve described the face and clothes of the character, and the next time they appear, the reader is gonna imagine the character in a similar set of clothes, with the same face and appearance that they had the first time. Therefore, any time other than the first, you don’t go into detail about the character again. But, if something about your character is out of ordinary—there are bruises on their face, scars, or a change in the way they dress—describe it to the reader. That’s because your narrator may notice these little changes.

***

#05 - Clothing

Clothing is a special case. Some new authors describe the clothes of the characters when they’re describing the character every time the reader sees them. So, I wanna help you with this.

Clothing can be a way to show something about your character—a character with a well-ironed business suit is gonna be different from a character with tight jeans and baggy t-shirt. Therefore, only use clothing to tell something unique about the character.

Refrain from describing the clothing of characters that dress like most others. Like, in a school, it’s obvious that all characters are wearing school uniforms. Also, a normal teenage boy may wear t-shirts and denim jeans. If your character is this, no need to describe their clothing—anything the reader would be imagining is fine.

Refrain from describing the clothing of one-dimensional side-characters—there’s a high chance you’ve not really created them well enough that they have clothing that differs from the expectations of the readers. We all know what waiters wear, or what a college guy who was just passing by in the scene would be wearing.

You may describe the clothing of the important character in the story, but only in the first appearance. After that, describe their clothes only if the clothes seem really, really different from the first time. And stop describing their clothes if you’ve set your character well enough in the story that your readers know what to expect from them in normal circumstances—then, describe clothes only when they’re really, really different from their usual forms of clothing.

***

#06 - Conclusion

I think there was so much I had to say in this article, but I didn’t do a good job. However, I said all that I wanted to say. I hope you guys liked the article and it helps you in one way or the other.

And please subscribe if you want more articles like this straight in your inbox!

[orphiclovers]

The first scenario of ORV has always fascinated me. "Kill another person to survive." It might be the most common plot point in apocalyptic stories.. Pretty much all of them feature some discussion of morality and how to define it, good and evil, played out by deeply morally grey characters who have to make a choice to kill.

But ORV is a story about stories.

The Star Stream is trying to tell 'the story of an apocalypse' and it does! But in the most crude and unpolished way.

It's almost cynical. 'We are telling an apocalypse story, what's a common plot beat in apocalypse stories? 'No one is innocent and everyone has killed to survive'. Okay, let's make it a literal requirement for everyone to have killed someone to proceed.'

It's robotic, taking a story beat and stripping it down to it's bare essentials, then forcing the incarnations to adapt to it or die.

But the thing is. That's what all writing is. ORV just pulls back the curtain, exposing the internal circutry that makes a story work. Orv doesn't lie to you about the inherent artifice of it all.

The scenarios are perfect little plot arcs, designed to test the limits and reveal the strenghs and weaknesses of incarnations - 'the characters' of the story. It's not some cruel torture, it's literally just the act of storytelling. Writing 101 is put characters through hardship to reveal certain qualities in them or to make them go through character development.

Only difference is that writers usually camouflage the 'scenarios' they give their characters until the circumstances seem 'realistic' and like they happened on their own, like the author isn't forcing their reality to bend this way at all.

Oh, one character didn't lock the door in time due and got bitten by a zombie. And so inevitably this other character has to make the choice to kill them or not. There's as many explanaitions as the author can cook up as to what lead the characters to this moment. How the zombies got there, why these two were in the same vicinity, etc etc.

But, it's all set dressing the author has added to make the audience forget that this is too a 'scenario' given to the characters to test them. There's a time limit and a description and a reward and a penalty for failure, but all of these are cleverly hidden. The time limit can be until the last helicopter leaves in 10 minutes. The unspoken penalty is death. The author arranged how the characters find out some or all of this information in convienient ways.

Star Stream just lays it all out in front you you, straight up. States 'Kill another incarnation or have them kill you' and doesn't attempt to justify the circumstances, because of course, the real reason all this is happening is because the story demands it.

It's a universe that does not hide the author's hand in every tiny little event that happens.

So this too is the question "What if the characters knew they were in a story?" asked yet again. Every single being in the ORV universe knows they are in a story. The system itself makes it obvious - you can look at your own character sheet, you obtain 'stories' when you do something impressive but are constrained by 'probability' and what the audience finds interesting. You're body is literally made up of words written about you're life!

That's why the worldbuilding is so cohesive and so so good. All of it is telling you 'the world is a novel.'

[tarotwithavi]

Which Disney princess would you be and why?

Timeless reading

＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊

＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊

How to choose a pile?

Close your eyes and take a deep breath and ask the angels to show you the right pile for you and open your eyes. The first pile that catches your attention is the right pile for you.

This is a general reading so take what resonates and leave the rest!

Masterlist 🍒 Extended masterlist

Paid services

I am currently running short on funds and am unable to pay my rent, I would really appreciate some help 🙏🏻

THANK YOU SO MUCH FOR YOUR LOVE AND SUPPORT 🫶🏻💞

＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊

Pile 1

If you were to embody a Disney princess, you'd likely resonate deeply with Mulan and Moana.

Starting with Mulan, there’s a natural connection here due to your deep respect and love for your family and culture. Just like Mulan, you feel a strong responsibility to protect and honor your family. This could mean taking on the role of looking after your father, possibly even working with him or supporting his business. You don’t see these responsibilities as burdens, but rather as an honor, much like Mulan stepping up to protect her father and family when they needed her the most. You have that same fire within you—a drive that makes you stand up for the people you care about.

Your path, like Moana’s, is not confined by societal expectations. You’re someone who values independence and is ready to challenge the limits of what others think you should be or do. You’re always learning, always growing, and you’re not content with just “following the rules.” You want to make your own path, just as Moana did when she set out on her journey across the ocean, even though her entire village expected her to stay put. There's a deep explorer within you, someone who wants to experience life beyond traditional boundaries and limitations.

One thing that truly defines you is your straightforwardness. You’re not one to dance around the point you say what you mean, directly and with confidence. You may even have a sharp or deep voice that demands respect and conveys authority. People know where they stand with you, and that honesty is something that draws others to you and gains their respect.

Your courageous nature shines through in every part of your life. You’re not afraid to take the lead, to stand up for what’s right, and to go after your goals no matter how long it may take. In many ways, you have a warrior spirit; you’re determined, ambitious, and won’t settle for anything less than what you’ve dreamed of achieving. Like Mulan on the battlefield and Moana on her journey across the sea, you face challenges head-on, fully committed to coming out victorious.

This fierce independence is a core part of who you are, and it shows in your reluctance to rely on others for help. You’ve learned, maybe from a young age, to take responsibility for your own life and decisions. It’s possible you’ve had significant responsibilities from a young age, perhaps as the eldest child or someone others depended on, which has made you resourceful and strong. Now, you’re in a place where you’re even more eager to carve your own path and live life on your terms.

Curiosity and intelligence are two of your standout traits. You’re someone who questions everything, eager to understand the world in a deep way, and you don’t just accept things at face value. This makes you a natural explorer, someone constantly learning and searching for meaning, whether it’s through intellectual pursuits, travel, or self-discovery. You might have a fire or air sign as your Sun, Moon, or Rising.

Random things that may resonate : maroon red, eldest daughter, pretty handsome, short or medium height, group of 3 friends, novels/books, glasses, round eyes, parrot, hats.

＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊

Pile 2

If you were to embody a Disney princess, Rapunzel would be a perfect match for you. There’s something about your life journey that aligns with hers a sense of yearning for freedom, adventure, and the desire to find something truly meaningful.

From a young age, you may have felt like you were held back, perhaps by the restrictions of family or the walls of your own home. Like Rapunzel, you sensed that there was a big, exciting world beyond the limits of your surroundings, but you might not have been allowed to step out and explore on your own. It’s possible that you had strict parents or a family that wanted to keep you close and safe, but this may have also made you feel confined. You’ve always known there’s more to life and have longed for the chance to experience it firsthand.

You have many dreams and aspirations, which fuels your journey to find something truly meaningful. Some of you may be in search of your life purpose or even a career that will make you feel alive and fulfilled. There’s a deep sense within you that you’re meant for greatness, but at times, you may feel restricted by family expectations or responsibilities. This drive for something greater keeps pushing you forward, even when it feels challenging to break free from those limitations.

Just as Rapunzel treasured her hair, it seems that you also hold a deep connection to yours. Whether it’s long, well-cared-for, or something you’re known for, your hair might even reflect how you’re feeling. In times of transformation or emotional shifts, you might experiment with your hair, changing it up to mark a new beginning. It’s almost as if your hair is a symbol of your personal growth, a reflection of your resilience, and the beauty that lies within you.

You may feel a bit of a distance in your relationship with your parents or family. It’s not that there’s a lack of love; rather, there may be an invisible barrier that makes true connection challenging. Like Rapunzel, you might feel like you’re waiting for the day when you can break free of these unseen walls and find that sense of freedom and individuality. This may be why you’re drawn to finding your own path, something that defines you and allows you to be yourself without restrictions.

Creativity and spontaneity are other traits that connect you to Rapunzel. You have a spark of imagination and a playful side, someone who can turn any situation into an adventure. Whether it’s through art, ideas, or even just the way you approach life, you know how to make things vibrant and alive. This ability to bring color and joy into the world is something that makes you truly special. Your story is one of discovering yourself, breaking free from constraints, and finding a purpose that fills you with joy. Like Rapunzel, you’re on a journey to step into the world and make it your own, letting nothing hold you back. You have the courage, the creativity, and the strength to shine, and once you step out into your own light, there’s no limit to the magic you’ll create.

Random messages that may resonate: water sign, arts or art major, curly hair, autumn, Taurus, white and red dresses, blindfolded, moving away, knight in shining Armor.

＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊

Pile 3

Like Belle, you are someone who values knowledge and understanding. You have a deep appreciation for learning and personal growth, which drives you to explore new ideas and experiences. Just as Belle is often found with her nose in a book, you, too, are likely someone who seeks wisdom and insight, eager to expand your horizons. This thirst for knowledge not only enriches your life but also sets you apart from those around you, much like Belle’s unique perspective in her village.

Your ability to work well with others suggests that you have a collaborative spirit. You understand the importance of teamwork and the power of building relationships. Whether it's through family, friends, or colleagues, you recognize that great things can be achieved when people come together. Just as Belle works with the enchanted objects in the castle, you thrive in environments where you can connect and collaborate, bringing your talents to the table to create something beautiful and meaningful.

However, your journey also includes a sense of transition and growth. You might have experienced significant changes in your life, moving away from familiar surroundings or letting go of old beliefs that no longer serve you. This willingness to embrace change is a sign of your strength. Much like Belle leaving her home for the Beast’s castle, you are open to new experiences that lead to personal transformation.

You possess a nurturing quality, reflecting the warmth and care that Belle shows to those she loves. You likely have a deep sense of empathy, wanting to uplift and support others. This makes you a source of comfort for those around you, and people naturally gravitate toward your kind heart. Just as Belle helps the Beast see the beauty within himself, you have a way of bringing out the best in others, showing them that they are worthy of love and respect.

At the same time, you may find yourself in moments of solitude or deep reflection. Just as Belle often finds solace in her own thoughts, you may cherish your alone time, using it as a way to gain insight into yourself and the world around you. This introspective side allows you to process your experiences, helping you grow into a more well-rounded individual. It’s during these quiet moments that you gain clarity and strengthen your inner resolve.

Your willingness to embrace transformation indicates that you’re not afraid to face challenges head-on. Just as Belle navigates the complexities of her relationship with the Beast, you have the courage to confront difficult situations and seek growth through them. You understand that change can be uncomfortable, but it is often necessary for evolution. This resilience speaks volumes about your character.

Family and legacy are also important themes in your life. Just as Belle values her relationship with her father, you may find that family plays a significant role in shaping who you are. You likely cherish the bonds you have with loved ones and aspire to build a life filled with love and stability. Your dedication to those you care about reflects a desire for lasting connections, much like the legacy that Belle seeks to create in her own life.

However, your journey isn’t without its challenges. Like Belle, who faces conflicts with both societal expectations and personal struggles, you might encounter obstacles that test your determination. You may find yourself in situations where you need to stand your ground and assert your beliefs, navigating conflicts with grace and understanding. Your ability to confront these struggles with poise sets you apart and showcases your inner strength.

Random things that may resonate : ponds/lakes, leadership qualities, physically attractive, lonely, transformative, fever or headaches, competition.

＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊

[jeoncopi]

• — freedom overseas — •

GET INTO IT: feeling carefree each time he traveled shouldn’t be different for jungkook. as much as he wishes to feel like this back home, he can’t help but restrict himself at all times. - one thing about you working abroad and his schedules matching your timezones (better when it hits same destination), he could only wish and live for the best. ‘cause that’s exactly what he’ll get.

pairing: jungkook x reader.

word count: 3.4k

be aware of: graphic smut and unprotected sex (be always safe). reader can’t resist jk, car sex, jungkook smokes here so uhm.. y-yeah..

author’s note: since this is supposed to be a drabble (lol). hopefully my next work will end up being with more than 2k (lol) kisses and let me know what you think 😇. istg this story changed 2837 times hajaja

when you step outside the restaurant walking towards jungkook who’s smoking, footsteps froze at the sudden image.

he smokes? since.. when?

bewildered, you blink twice as your eyes carefully watch him take another hit of the small nicotine. this is definitely a whole new side of him you didn’t know about.. completely new, but it got you confused. you’re not crazy to remember him talking about his hate for cigarettes because of how much his dad used to do it back when he was little.. right? like that wasn’t a dream. you’re pretty sure he has expressed his disgust to you. almost agreeing with you.

sigh..

the more you look at him as you approach him feels like you can’t even get mad at him.

..why? well.. pinocchio wouldn’t be proud of you if you say he didn’t looked hot doing it.

ugh! what are these thoughts!

you definitely despise the smell of cigarettes! you even hate the sight of it, but why does he gives you quite the view? - you blame it on the way he carries himself with so much confidence yet— is so unbothered when he opens his mouth talking with your friends. his outfit too and how an all black combo always look so good on him.. but then, the simplest thing as him holding that tiny folded paper around his pointy and middle finger touching in between his soft and natural pink lips with a very boyish smile almost made you feel like having a lucid dream. why? because.. well, you were definely wet now.

what..? no!

yes, you are. you could feel it now. if only he could feel it through your panties..

mm.. no!!

mm.. yes!! you hated daydreaming fantasies with him like this but your body and mind could be very uncontrollable sometimes. feeling a single drop down your panties.. what can you do now? aren’t you supposed to hate this? you do! but why is your body reacting this way? it’s not wrong but it isn’t entirely right either considering you don’t like cigarettes.

deciding to ignore all the carnal thoughts running through your mind, you keep walking straight to him. as sticky and annoying as it feels.

“so.. is this your way of getting fresh air?” you start as soon as your friends started parting ways. tone rather calm compared to the troubled mindset you had a few seconds ago.

startling him, softly so. “ah.. ha. this.” he responds. eyes blinking on beat as soon as he grins. you watch carefully as his hand shakes the little tobacco rolled paper.

“yeah.. this.” shyly pointing at it, “how long has this being going on?” voice still calm, you didn’t put too much effort in questioning him. it’s his body at the end of the day and you know just how stubborn your boyfriend can get.

“mm..” smoke exhaling from his mouth and he’s mindfully careful when he does it tilting his head up for the smoke to follow that direction and not be even near close your entire face. “not long ago, actually. taehyung once brought this one vaper and i was curious by its smell each time he used it, so I bought one. strawberry ice cream, to be clear,” he laughed, you do too. “it was weird but I liked it.”

“hm..” slowly crossing your arms around your body you lean against his car in thought. not breaking eye contact even a second, jungkook could feel it. “what made you change your mind? m’not gonna lie. I’m surprised. I remember you once saying you hated it.”

and it’s like your gaze is looking for answers and jungkook can clearly see that. knows you too much. thinks it’s so cute too. the way your curiosity rises each time he takes another hit, he can trust your mind being full of unanswered questions for him. he knows what you mean as well as knowing how much you don’t like it either. but the fact that you aren’t mentioning none of it to him it just makes him look at you with nothing more but warm eyes. thinking he loves you too much.

“so do you.” he states by wanting to make that clear. so you know that he knows. so you know that he won’t and isn’t getting crazy about it, that he’s aware. but you could only understand that if he really explained why.

so that’s what he does.

“remember that day when I texted you about living one life?” you nod. “well, I decided to just give it a try. I want to try everything that I can when it comes to things that I want. be it temporally or not. during my whole life.. as long as I live, there’s probably not gonna be a second chance right?”

“right.”

“at least not in this body,” and he’s so soft spoken that when he shakes once more what’s left of the cigarette’s butt before taking his last hit, the sound of a familiar plastic sound resonates through your ears and that’s when you see him pull two tiny tabs of what seems to be gum off his pocket. and you can’t believe he just did that. suddenly the image you were seeing right now, not matching with his current actions. so you can’t help but give a small smile as soon as he handles one tab for you to take with his pretty big eyes.

he continues, “even though it damages my body a little, there’s a balance thing called in life. i’m not getting addicted and I don’t do it excessively-“

“I was worrying about that, actually..” you voice out, interrupting him. “you tend to get obsessive over things.”

it makes him smile, softly. “I know. but I won’t, I promise. you know my thing is drinking alcohol anyways.. even though that isn’t entirely good either..” making you laugh in unison as you lightly punch him.

“at least you’re aware.”

“hey!” he hugs you side ways. “candy isn’t so much good for your health either..” walking towards the side of his car so you can go.

“but i’m not obsessed.” you huff about it.

“could be. you do get a bit obsessive.” bopping your nose.

“stop!”

making him laugh, “okay.. hop on.”

“I hate you.”

“show me how much.” and.. he closes the door with the biggest playful smile.

oh.. no, not again.

and there you are, left with a big hysterical smile plastered on your lips as you try to breath in, breath out the sudden rush of your body. — come on! it’s not as if you weren’t fucking wet a few minutes ago as soon as you saw him do the things you hated the most.. right? ..you totally got this..

but who.. who were you lying to? it’s not like you could control your body when you haven’t seen him in weeks anyways..

yeah.. you were a mess.

still, you tried to play it cool. “are we heading back towards the hotel, right?” genuily asking.

he responds as soon as he closes his door. “yeah, why?” staring at you now. “wanna go somewhere else?” one palm touching your bare thigh when he asks.. you know there’s nothing wrong with it, and it should be normal at this point of your relationship too, but your hormones were getting the best of you so you just play it off, gently pulling his hand away as much as you didn’t wanted to. deep inside.

“not actually, was just asking.” it’s the truth, but jungkook only squinted his eyes before resting an arm on top of the handbrake, his face’s closer to yours. not enough for you to loose your sanity but close enough into getting a whiff of his rich cloudy scent. although, you can’t deny how fine he looked staring at you like that, his eyes always seemed to shine no matter the situation. only that this time around, everything you could sense from it was nothing more than desire flaming throughout his dark orbits.

“you know we can go wherever you want, right?” staying like that for a couple of seconds, all you can answer is a slight nervous “I know.” and jungkook can sense your sudden shyness. thinking is cute but this could only go one way or the other.. if you both play your cards right.

staring at you for a couple of seconds, jungkook’s piercing gaze switch between your lips along with your boobs and neck before getting ready to turn on the car.. making you exhale a little air after, as if you didn’t know you were holding your breath.

“originally, I wanted to get back so I could brush my teeth or something to be honest.” talking about smoking. “I’m not much of a fan of the aftertaste,” he laughs. “but if you want to go somewhere else,” a hand slides through your thigh.. again. only this time, he squeezes it two times. “I’m down for it too.”

one hand on the steering wheel, another one on your thigh.. it’s moments like these when you question if he knows how effortlessly irresistible he is.. sure, it might be something simple. he’s not doing much either. is just that his side profile and the way his hair lingers in his face and overall the way he’s shaped and how you can literally see the bump of his chest pop for how much he works out mark through his shirt that it makes you want to trace his pectorals with your fingers forever makes you want to eat him and that’s it but.. uh, isn’t that the definition of being so stupidly effortlessly hot?

when you softly press both your legs together, his hand seems to scalate close to your inner thigh..

oh jungkook.. perhaps, are you having the same thoughts as me?

still, you try your best to ignore it. “ah.. so that’s why you have gum with you, isn’t it?”

“caught.” rising both hands up as played guilty.

and as you stare at him.. you notice once again, he looked fine. your legs squeeze and you slightly arch your back when your gaze is back on the street still trying to ignore the finest hottie beside you. - jungkook, on the other hand, just smiles to himself and starts driving. you can’t help but give little sneak peeks at the way he gently but confidently grasps the wheel with one hand.. as soon as the other one approaches your thigh once again.. - he always did this but you were uncontrollable tonight. can’t help but immediately give him those eyes as soon as he reaches your beloved red light.

you swore going back to the hotel wasn’t the main priority. you wanted him now. - so slowly tilting your head to the side, your voice is airy when “babe..”

“mmh?”

and that’s when he sees you. you don’t say a word but he already knows what’s that thing you’re craving the most, and that thing it’s him. he doesn’t speak either. just staring at you under the red light, his hand traces a path towards your slowly opening legs. when you bite your lips into a smirk, his fingers are already pushing your panties to the side. confirming his most prominent thought. you’re wet as fuck.

“were you waiting for this?” eyes gazing up and down your body, his voice is cheeky when he asks. biting down both of his lip rings. “fuck. just how long were you this turned on?” playing with your clit “and why didn’t you told me..” as your body twitches. “it makes me crazy..” whispering more to himself.

—

when you’re gripping the head of his seat increasing the pressure between your arms so you could balance your jumps more deeper and precisely above him, he feels like he could cum in any moment. controlling his breathing, he tries to concentrate in order not to but the way your breast bounce and how you manage to leave quick steamy kisses over his neck makes it so hard. mostly when he has this desire to kiss all over your chest and suck on your titties. but his hands are also gripping so hard at the side of the seat, he barely touches your legs and he feels like a teenager are over again.

the fuck is this coming from him not wanting to last? he blames it on the long time you haven’t seen each other. 3 weeks exactly without your kisses and physical touch.. when he remember fucking almost (if not) everyday when you stayed at his house or he stayed at yours. - there’s always this deep desire whenever you’re close to each other, jungkook doesn’t think it will ever go away and to be honest he doesn’t even want it to ever disappear. always thinking about if it’s you, then everything will be okay.

but as you’re both very into it, something similar like a flash, lights up a little the dark street jungkook managed to set you up. - you both ignore it at first but after two more times, you stop bouncing hard on him switching to slow circular movements that still makes jungkook bite his lips for how good you feel.

“don’t stop.” he’s confident, palming your ass.

“I think there’s someone watching us.”

“I’ve notice too.”

but you both end up stopping your movements regardless.

quickly looking around, the flashes has seemed to be gone but as you keep searching for someone, jungkook just stares at you only to caught your attention back by squeezing your ass two times. making your eyes meet as he mischievously smirks.

“I couldn’t care less from last time, you know it.” sensually kissing your lips. he’s provoking you all over again.. “let them have a show. it’s what they want.”

and you know he’s referring to that one time you both fucked on a balcony being overseas too. - paparazzis had caught you fucking and while you were worried about him getting bashed for it (for the blurry clips that spreaded back then), he ended up being so calm about it to the point of fighting with his company saying he shouldn’t feel guilty for wanting to fuck his girlfriend. - and while he understands the depth of why they asked him to be careful, he still thinks it’s just bullshit and that the people who love him for him, will just accept and be happy that he’s happy experiencing what every normal person does. so why everybody can be happy but him? he’s just the same human with needs and desires..

“but this isn’t-“

“stop worrying about me. I know you can’t help it, so let me just say there’s nothing wrong with us wanting to fuck.. I bet they’ve their own experience so why can’t we have ours?”

when you hold his face, you know what he means. knowing how hard it is for him to tell you to stop worrying about it since he once told you he couldn’t just tell that to you because it make him feel careless about your feelings, but you do really get him this time..

when it comes from his personality, a part of you loved that. love that he doesn’t care, love that he always chooses his happiness because at the end of the day he knows he might only have this one life. and even if he don’t, he still wants to enjoy it at his best and that’s why when he motions your hips to move by gripping the side of your waist, both of your bodies stick so close to each other that the image of him biting his lips as he contemplates your body makes you not want to regret this and so you don’t. realizing you’ll only have this from time to time.

“fuck this.” you moan to his ear when jungkook kisses are needy and steamy, confirming just how badly he wanted to try this.

talking about it it’s something but actually experience this feeling of sex in such a limited place (even when this car is very spacious) was really hot and adrenaline reaching. windows foggy and all, it almost feel like a movie. you believe that at this rate it’s even difficult to look at inside the car so if those strangers were really filming or whatever, they’re footage will be already ruined.

you smiled a little because of that. but it didn’t lasted long when you suddenly feel both of jungkook’s hands around your hips manhandling the way you were going to start bouncing on him.

“let them see if they’re so interested in me. I couldn’t care less.” he just doesn’t give a single fuck right now and that only makes you want him more.

see, whenever he’s on his ‘I don’t give a fuck’ moment.. you believe that’s when he’s the most sexiest and dangerous. - maybe you were too into him but each time he showed this side of himself.. you can’t help but love it and be turned on for it at the same time.

—

while he treats you like his personal fucktoy, he does gives you times were you could move at you own pace. but the sounds and the way he touched you were making it hard for you so there’s nothing left when you say, “I- I want to cum.” with such a tiny desperate voice, it makes jungkook grin.

“do it.” voice tender compare with his hot-messy image. “mm, i’ll cum too if you do.” moaning afterwards.

and the good thing is that he really can make himself cum once you do. all he has to do is concentrate in the way your walls contracts into him as if they were gonna swallow, he loves it each time. say it feels too rich, too tight for him to handle. - so when you’re both done, after driving for a while, you don’t see more cars trying to follow you.

“gonna sleep so well tonight, i’m so fucking happyyy” he singsongs as soon as he lays in bed, pulling you into his chest for a hug. “no more nightmares,” he kisses your forehead. “my princess is here.”

smiling to himself, you feel so shy and loved at the same time. gently kissing his lips. “I can say the same.” lovey-dovey eyes looking at him.

he caresses your hair. ”my pretty little princess.”

you smile. “I hope you don’t go hard on yourself.” saying after knowing what’s coming if there really was someone witnessing what happened earlier.

“don’t worry.” softly smiling, “I told you I didn’t cared, didn’t I?” caressing one of your cheeks.

“hm. but still.”

it makes him look at you with warms eyes. “keep being cute. i’m grateful that you worry this much about me..”

“don’t tease me.”

“I’m not teasing you. it’s the truth.” pause. “I just love how caring you are because that means you really must love me..” tone serious.

“of course I do, silly!” you tease him, making him laugh.

“I love you.”

“I love you too.”

“let’s sleep now. we’ve so much things to do..”

“..and so much little time..” you follow.

“I know.” he sighs. “but we can make it.”

“we always do.” you proudly smile, he does too.

“I love us so much.” he says once again.

you laugh. “okay, let’s sleep sentimental boy.”

“you love me this way.”

“you know I do.”

and after teasing each other for a while, you both end up falling into your sleep for a brand new, busy and maybe more exciting day..

[linkspooky]

SHIGARAKI VS. YUBEL: HOW TO SAVE YOUR VILLAIN

The failure of Deku to save Shigaraki isn’t just a tragic conclusion for Shigaraki’s arc, it’s also My Hero Academia failing as a story. When I say the story failed, I mean the story has failed to answer any of the questions it asked its audience. It’s themes, character arcs, everything that communicates the meaning of the story to the audience is no longer clear. 

Saving Shigaraki was the central goal of not only the story itself, but the main character Deku. By failing in its goal you can’t call this a good ending. In order to illustrate why this goal of saving the villain is so important to both Deku’s character and the central idea of MHA, I’m going to provide a positive example in Yu-Gi-Oh GX were the main character Judai successfully saves their villain.  One of these stories fails, and the other succeeds. I will illustrate why under the cut. 

BROKEN THEMES = BROKEN STORY

When artists draw they have to consider things like perspective, anatomy, shading, light, coloring. Drawing has rules, and it’s hard to produce good art without knowing these rules beforehand. If I draw something that has bad anatomy, you can criticize me for that. 

Writing has rules, just like drawing. The rules of storytelling are important because writing is an act of communication. You can write whatever you want, just like how you can draw whatever you want, but if you break the rules the audience won’t understand what you are trying to communicate. 

When I refer to MHA as a broken story, I am referring to the fact that it has broken the rules of storytelling. As this youtuber explains.

“I guess we should first define what broke and broken even means in this context. Has the story turned into an unintelligible mess? Not really. Value judgements aside, the narrative is still functional and fulfills the criteria of being a story. So how can a story that still functions be broken? Maybe to you it cannot. But to me a story that is still functional isn’t enough. What I mean when I say MHA is broken is that it’s lost something crucial. A codifying style of structure, pacing and payoff that until a certain point was the core of its identity.” 

I could launch into a long-winded explanation of what themes are, but for the sake of simplicity I like to define themes in terms of “Ask, and answer.” The author asks a question to the audience, and then by the end of the story provides an answer. The audience is also invited to come up with their own answer which prompts them to think about the story on a deeper level.  The question both MHA and GX are asking both its main characters and the audience is “Can you save the villain?” with the additional complicated question of “Should you save the villain?”  This post will detail how both stories go about answering those two questions, and more importantly why those answers matter for the story. 

With Great Power… You know the rest. 

My Hero Academia and Yu-Gi-Oh Gx are actually similar stories once you get past their superficial differences. MHA is a story with way better worldbuilding, compared to a society where everything revolves around the trading card game, and people go to school to be better at a trading card game. 

However, if you get past that. They are both bildungsroman, stories about the main characters growing up into adults. They both have an academy setting where the goal is for the main character to graduate and enter the adult world. They are both shonen manga. GX is the sequel of Yu-Gi-Oh a manga that ran in Shonen Jump the exact same magazine as MHA.  The biggest point of comparison is their main characters, who both start out as young and naive who are driven by their admiration of heroes. Deku is a fan of All Might who wants to become a hero despite not having a quirk, because he loves All might who saves everyone with a smile. Judai’s entire deck archetype revolves around “Elemental Heroes’ and later “Neo-Spacians” who are all based on popular sentai heroes like ultraman. 

The central arc for both characters is to grow up. Growing up for both of them not only requires figuring out what kind of adult they want to be, but also what kind of hero they want to be. 

Now I’m going to drastically oversimplify what a character arc is. 

A character arc first starts out with the character being wrong. Being wrong is essential because if the character is right from the beginning, then there’s no point in telling the story. A character often holds the wrong idea about the world, or has some sort of flaw that hinders their growth.  The narrative then needs to challenge them on that flaw. It usually sets up some kind of goal or win condition. That flaw gets in the way of a character “winning” or achieving their goal, so they need to fix that flaw first. If their ideals are wrong, then they need to think about what the right ideals are. If they’re too childish, they need to grow up. If they have unhealthy behaviors or coping mechanisms, they need to unlearn it and require better ones. Otherwise, that flaw will keep sabotaging them until the end. 

I’m borrowing the word “win condition” from class1akids here because it’s an incredibly appropriate terminology. Midoriya needs to do “x” in order to win, otherwise this victory doesn’t feel earned. The “x” in this case is usually character development. As I said before, a story where the main character hasn’t changed from beginning to end feels pointless. Especially in Deku’s case, he was already a brave, strong hero who would charge right into battle and defeat the bad guys in chapter one, so him defeating Shigaraki in a fist fight doesn’t represent a change. 

The story sets up not only “What does the hero need to do to win?” but also “How does the hero need to change in order to win?” A character either meets these requirements before the end of the story, or they don’t and usually this results in a negative ending. 

MHA in its first half quite clearly set up both the final conflict of saving the villains, and also that saving the villains is its “win conditions.”  The hero shouldn't be allowed to win without first fixing this flaw.

From this panel onward the central question Deku is forced to answer shifts from “Am I strong enough to defeat ShigarakI” to “Can I save Shigaraki?” However, much earlier than that All Might goes on to basically set up the win conditions of what makes the ultimate hero as someone who “Saves by winning, and wins by saving.”

All might: You can become the ultimate heroes. Ones who save by winning, and win by saving.

Therefore the story has set it’s criteria for what kind of hero Deku needs to become. If he wins without saving, then he’s failed to become what the series has set up as the Ultimate Hero. 

Shigaraki and Yubel aren’t just narrative obstacles, or boss monsters to be killed like in a video game. They are narrative challenges, which means that the character can’t grow in any way if they don’t answer the challenge presented by the characters. They are villains who actively resist being saved, to provide a challenge for two heroes who define their heroism by saving others. The challenge they pose adds a third question to the story and the main characters. 

"Can I save the villain?"

"Should I save the villain?"

"If I don't save the villain, then can I really call myself a hero?"

In other words the decision they make in saving, or not saving their final antagonist defines what kind of hero they are. In Deku’s case it’s even more critical he defines what hero he wants to be because the MHA is also a generational story, and several of the kids are asked to prove how exactly this generation of heroes is going to surpass the last one. The kids growing physically stronger than the last generation isn’t a satisfactory answer, Deku getting strong enough to punch Shigaraki hard is not a satisfactory answer, because we are reading a story and not watching a boxing match. 

I’m going to focus on the last two questions though for a moment. Many people who argue against saving villains like Shigaraki argue he is a mass murderer and therefore isn’t worthy of salvation. However, the act of saving Shigaraki isn’t a reflection of Shigaraki himself, but rather the kind of hero Deku wants to be. It all boils down to Spiderman. In the opening issue of Spiderman, teenage Peter Parker is bitten by a radioactive spider and suddenly gains super strength, the ability to stick to walls along with other powers. However, being a teenager he uses these powers selfishly at first. He doesn’t feel the obligation to use his powers for other people, and therefore when he sees a robbery happening right in front of him he lets the robber go. However, because he lets the robber go, the robber then attempts to hijack a car and kills his Uncle Ben in the process. If Spiderman had stopped the robber then he might have prevented that from happening. He had the power to stop the robber, but he didn’t feel responsible or obligated to save other people. As a result Uncle Ben dies. It’s not enough to have power, ti’s how you use that power that reflects who you are, therefore: “with great power comes great responsibility.” 

The choice to save Shigaraki actually has little to do with whether or not Shigaraki is redeemable, but rather how Deku chooses to use his power, and what he thinks he is responsible for reflects who Deku is as a person.  Deku himself also clearly outlines how he wants to use his power, that One for All is a power for saving, and not killing. 

How he uses his power reflects Deku’s ideal in saving others, and therefore if he doesnt use his power to save, then he’s failed to live up to his ideals. It's not whether it's morally right to save a murderer like Shigaraki, but rather the way Deku wants to choose to use his power. It's about whether he feels the responsibility to save others.

Judai explores an incredibly similar arc to Deku. They are basically both asked what kind of responsibilities a hero is supposed to have, which is also a metaphor for growing up to handle the responsibilities of adulthood. As both characters start out with incredibly naive and childish ideas about what a hero is. Therefore realizing what a hero is responsible for is key to them growing as a character.  However, Judai is different from Deku. In some ways he’s more like Bakugo. Judai is a prodigy who’s naturally good at dueling. He doesn’t duel to save others, but rather because duels are fun and he’s good at it. He’s very much like Bakugo, who admired All Might as a hero just as much as Deku did, but admired the fact that he was strong and always won rather than he saved others. 

However, I would say both Deku and Judai are questioning what a hero is responsible for. They are both asking if they have the responsibility to use their power to save others. If they have to fight for other people, just because they have power. His first big challenge as a character comes from Edo Phoenix, who calls out Judai for not thinking through what it means to be a hero, and what responsibilities heroes carry. Judai duels because he thinks it’s fun. He will show up to duel to help his friends, but that’s because he’s the most powerful person in the group. Even then it’s because he finds fighting strong opponents to be enjoyable. Bakugo will beat up a villain, but for him it’s more about winning then if the action will save someone or not. 

Judai is more often than not pushed into the role of being a hero, he doesn’t play the hero because he’s a particularly selfless person, and he’ll often avoid responsibility if not forced. He has power but no sense of responsibility and the narrative calls them out as a problem. 

Edo: Can you even fathom that, Judai?

For Judai, he can’t understand the responsibility of being a hero. For Deku, he idealizes heroes so much he can’t understand that there are people out there the heroes have failed to save. These two callouts towards Deku and Judai are discussing similar because they’re both discussing where a hero’s responsibilities lie. Is a hero responsible for saving everyone? Is someone strong like Judai responsible for using their strength to help other people? 

Judai’s arc continues into the third season where he’s not shown to just be naive but ignorant. He’s not just childish, he actively resists growing up because he doesn’t want to take on adult responsibilities. 

THe same way that Deku just decides not to think about whether or not All Might failed to save people in the panels above. However, in Judai's case he's actively called out for his choice to remain ignorant.

Satou: Now, which one is at fault? Judai: Isn’t it the guy who saw it, but didn’t pick it up. Satou: Not quite. If one is aware of the trash that fell, it may be picked up someday. But there is no possibility fo the unaware one ever picking it up. Judai-kun you are the foolish one unaware of the trash that has fallen. Judai: Are you calling me out for how I am? Satou: Your behavior towards me was atrocious. The worst was attending class only for credit, even if you were there you only slept. Judai: Yeah, I know. I was all bad, but it wasn’t that big a- Satou: It is important. You see, one by one, the students inspired by your attitude were losing their motivation. Now if you were a mediocre duelist, then this would not be an issue. Satou: However, you are the same hero who defeated the three mythic demons. Every single student in the academy admires you. You should have been a model for this academy. Judai: Me, a role model? Are you kidding? I just do whatever I feel like doing. Satou: Great power comes with great responsibility. Yet, as you remain unaware of that, you’ve spread your lethargy and self-indulgence. 

seems like a minor issue, but look how Judai responds to the accusations. “I just do whatever I feel like doing.” Satou is arguing that Judai should pay attention to the influence he has on others because of his power, because how he chooses to use that power affects others. However, Judai chooses to actively not look at the consequences of his actions because he doesn’t want to take on that level of responsibility, and therefore he’s looking away from the trash. 

While it seems like it doesn’t matter in Satou’s specific example, not thinking of the consequences, or how you use your power can have unexpected consequences. Spiderman doesn’t feel like it’s his responsibility to stop a bank robber, and that bank robber shoots his uncle. You could still argue it’s not Spiderman’s responsibility to stop every crime in the world, and I guess no one owes anyone anything from that point of view - but Spiderman failing to act responsibility had the consequence of directly hurting someone else. 

Spiderman has to live with that consequence because it was his own Uncle that was hurt. This is where we really reach the duality of Judai. 

In GX, Judai is, symbolically speaking, The Fool of the Tarot Deck, the Novice Alchemist — a person brimming with infinite potential, yet one who is also supremely ignorant, who walks forward with his eyes closed and often unknowingly causes harm in his great ignorance. In this, he is very much the embodiment of the faults we most commonly associate with teenagers — selfishness, recklessness, shallowness, a lack of dedication or empathy when it’s most needed. Like most people, he has good traits that work to balance out some of the above, but his narrative path through GX ends up being that of the flawed hero undone by his faults — and then that of the atoner, the repentant sinner. In his case, the mistakes of his teenage years are the catalyst for his growth from a boy into a man burdened with duty and purpose.  Judai is someone with infinite potential, with great power, but also ignorant on how he should use that power, and that makes him an incredibly flawed hero who needs to learn how that power should be used. 

Deku similarly exists in a society where heroes deliberately turn a blind eye to the suffering of a certain type of victim. Shigaraki’s speech heavily resmebles Satou’s speech about garbage on the side of the road. 

Shigarali: "For generations you pretended not to see those you coudln't protect and swept their pain under the rug. It's tainted everything you've built."

Deku shares Judai’s ignorance, because he’s not only a part of a system that doesn’t even see trash on the side of the road, but he also worships heroes so much that he’s incapable of criticizing them. If Deku saw the flaws of heroes, but at first didn’t have the courage to speak out, but eventually gained the courage that would be one thing. However, if he doesn’t see the flaws of heroes, then the problem will never be fixed. 

There are also consequences for both Judai and Deku failing to use their powers responsibly. These consequences take the form of the villains who came about because of all of society’s ignorance to the suffering of victims (Shigaraki) and because of the main character’s ignorance to their suffering (Yubel). Shigaraki and Yubel are also explicitly victims that the heroes failed to save, turned into villains who are active threats to the heroes. 

Should I save the villain?

The answer is yes, because the decision to save is reflective of the kind of hero each character wants to be. Each story clearly sets up that Deku and Judai aren’t punisher style heroes who shoot their villains, they are being set up as heroes who save. Deku needs to “save by winning.” As for Judai, a big deal is made of Judai’s admiration for another character Johan who represents a more idealistic kind of hero. Johan unlike Judai is someone who duels with a purpose, something Judai outright says he admires because he’s empty in comparison. 

Judai: Johan what have you been dueling for? See, it’s about fun for me… Well, for the surprise and happiness too. I guess I do do it for the fun. Sorry, I guess I put you on the spot by asking out of nowhere. Johan: What’s this about Judai? Judai: It’s nothing. Johan: I suppose there is one goal I have. Johan: Even if someone doesn’t have the power to see spirits, they can still form a bond with a spirit. That’s why I do it for people like him. [...] Johan: I'll fight for everyone who believes in me, and I'll do it with my Duel Monsters. Judai: I'm jealous you've got feelings like those in you.

Becoming a hero who uses their power to help others isn’t just a goal the story sets for Judai, it’s a goal that Judai sets for himself because of his admiration for Johan. Johan represents the idealistic hero Judai wants to be, but is also held back from because of his personality flaws. Johan represents the kind of heroic ideal that Deku is aspiring to be. 

Johan’s ultimate goal isn’t punishing the wicked, but to use his power to save others. 

Johan: Judai, it was my dream to save everyone through my dueling!

The story sets up the idea that it’s not enough for Judai to simply be strong, he’s also challenged to become a savior who uses his power to help others like Johan. Deku needs to “save by winning” and Judai needs to “Save everyone through his dueling.” However, Johan also adds another condition to what saving means. His idea of saving isn’t to defeat a villain, but rather his dream is to help connect spirits and humans together, even if there are humans who can’t see spirits. Johan doesn’t save people with the power of physical force, but rather the power of human connection. 

Should I save the villain?

Here the answer is "Yes",  because wants to become more like Johan someone who uses their power to help others not just for themselves.  Then we reach the third question

If I don't save the villain, can I really call myself a hero?

It once again comes to power and responsibility. Heroes have great power, and they are responsible in how they use that power, if they use it irresponsibly then there are consequences. Shigaraki wants to destroy hero society, because the heroes irresponsibly use their power to turn a blind eye to everyone’s suffering. 

People suffer when heroes fail to live up to their responsibilities. The entire conflict of season 3 is created by Judai failing to save Yubel. If Judai had helped Yubel when they most needed it, instead of abandoning them, then Yubel would never have been twisted by the light of destruction, would never have attempted to teleport the school to another dimension, would never have attacked all of JUdai’s friends. 

These consequences matter. Deku can turn his eyes away from Shigaraki’s suffering, but let’s say a hero failed to stop a robbery, or rather he didn’t even try, and because of that his mom was shot and died in the street. Would Deku consider the man who failed to stop a bank robbery a hero? When Spiderman let a bank robber go instead of trying to stop him, was he being a hero in that moment? Both the stories and the characters themselves have defined heroes as people who use their powers to save others, therefore if Judai and Yubel fail to save their villains then they can’t be called heroes by the story’s own definition. Now let’s finally return to the question of "Can I save the villain?"

Was there ever someone you couldn’t save?

m going to start with Yu-Gi-Oh Gx as a positive example of how to save your villain. Gx works for two reasons. One, it’s established from the start that Yubel isn’t beyond salvation, and two, it makes it so Judai can’t win without saving Yubel. The conflict of the story does not end until Judai makes the decision to save Yubel.  In some ways the writing is even stronger because Judai is directly responsible for the pain and suffering that Yubel went through that turned them into a villain in the first place. Yubel isn’t just a victim, they’re specifically Judai’s victim. 

Yubel is a duel spirit who is also essentially Judai’s childhood friend. A duel spirit just like the kind that Johan wants to save. During their childhood Yubel got too overprotective of Judai, and started to curse his friends for making him cry or upsetting him in any way. Until everyone Judai’s age started avoiding him and Judai became all alone with only Yubel for company. Judai’s decision was to abandon Yubel at that time. He took the yubel card and shot them into space, hoping that being bathed in space rays will somehow “fix” what was wrong with them. I know that’s silly but just go with it. Judai abandoning Yubel had the unintended consequence of Yubel being subjected to the light of destruction, a corrupting light that subjected Yubel to years of pain. This pain literally takes the form of Yubel burning alive.

Yubel connected to his dreams called out for Judai every night, only for Judai’s parents to give him surgery that repressed his memories of Yubel causing him to forget them entirely. Yubel then spent the next ten years alone in space, continuously subjected to painful torture, with their cries for help being ignored. 

"I was suffering even as you came to forget about me..."

Yubel is then met with the question of how can Judai treat them this way if they loved him so much? As from Yubel’s perspective, they’ve only ever tried to protect Judai, only for Judai to not only throw them away, but subject them to painful torture and ignore their cries for help. Judai effectively moves on with his life, goes to duel academy, makes friends while Yubel is left to suffer in silence all but forgotten. This is where Judai’s ignorance has serious plot consequences. 

It’s not just the pain that Yubel endured that made them snap. It’s that their pain went ignored. 

Yubel holds out the faint hope that Judai will answer their calls fro help until they finally burn up upon re-entry into earth’s orbit. At which point they’re left as nothing more than a single hand crawling on the ground.  Yubel who cannot fathom why Judai would cause them so much pain, and then forget about them, convinces themselves that Judai must be causing them pain, BECAUSE he loves them.

But you see, I couldn't possibly forget about you in the time that I've suffered...

Judai is allowed to move on with his life, to make friends, to spend the next ten years doing so while Yubel is subjected to ten years of agony. When they finally escape their painful torment, they see all the friends Judai has made while they’re left alone and forgotten. However, Yubel’s goal isn’t revenge. Rather, it’s to make Judai share and recognize their pain. WHich is why I said it’s not the fact that they were made to suffer, but their suffering is ignored. Yubel’s entire philosophy revolves around the idea that sharing pain is an expression of love, and that they and Judai share their love for each other by hurting each other. 

"That's why I sought to fill all those linked to you, your world, with both sadness and anguish..."

For Yubel, making all of Judai’s friends suffer and Judai themselves suffer is a way of making them and Judai equals again. They want to show “their love” for Judai, but it’s more about forcing Judai to recognize the pain he’s caused them by forcing him through the same pain. Yubel’s philosophy of sharing pain is actually a twisted form of empathy. 

They’re not entirely wrong either, that even people who love each other can cause each other pain, and that if one person is suffering alone in a relationship or the suffering is one-sided then there’s something wrong with that relationship. 

Yubel: I get it now… You weren’t in love, with Echo. Yubel: No.. you may have loved her just enough to clear the conditions in palace for you to control Exodia, but the you didn’t truly love each other. Yubel: You were only unfairly hurting her, while you stayed unharmed. You wouldn’t suffer. You wouldn’t suffer. You wouldn’t be in pain. Amon: What are you getting at? Yubel: I’ve been hurt! I’ve suffered! I’ve been in pain. That’s why I’m making JUdai feel the same things I did! 

Yubel’s twisted theory of love, is a pretty thinly veiled cry for empathy.

They break out into tears when talking to Amon about the way they’ve hurt and suffered. They clearly state upfront that their goal is for Judai to recognize their love. One of the first things they say to Judai is a plea for Judai to remember them.

Yubel is presented as a very human character suffering through a lot of pain throughout their entire villai arc, they break down into tears multiple times, they cry out in agony, they're visibly suffering and you see their mental walls begin to break down when Judai denies them any empathy.

Yubel is actually incredibly clear and straightforward about their desire to be saved by Judai. However, Judai doesn’t lift a single finger to help Yubel the entire arc, even though they themselves admit they are directly responsible for Yubel’s suffering but they helped create who they are today. 

Judai plunges into a different dimension and gives up everything to save someone, but it’s Johan, not Yubel they try to save. You have Johan, the perfect friend, and perfect victim that Judai gets obsessed over and will not stop at anything to save, and then you have Yubel, the imperfect victim that is actively harming Judai and all of his friends that Judai chooses to ignore. The whole season Judai only focuses on saving the perfect victim Johan, and this is clearly shown to be a flaw. Judai doesn’t just ignore Yubel to save Johan, he also ignores every single one of his friends. 

Judai only caring about saving Johan, and deliberately ignoring and abandoning the friends who came with him to help, essentially abandoning them the way he did Yubel leads to another consequence. After he abandons them they get captured, rounded up, and actually die and become human sacrifices. 

Losing his friends, causes Judai to snap. Judai becomes the supreme king and decides power is all that matters; he starts killing duel spirits en masse in order to forge the super polymerization card.  Which means being left alone, suffering alone, being abandoned by everyone causes Judai to snap the exact same way that Yubel did. 

In fact Judai is only saved from his darkest moment, because two of his friends sacrifice their lives, trying to get through to him and appeal to his humanity. At that point Judai’s friends could have just chosen to put him down like a mad dog, to punish him for the amount of people he’s killed, but instead they try to save him because of their friendship. 

I just want to save my friend. That is all.

By the time Judai is facing Yubel in their final fight, Judai doesn’t have the moral highground against Yubel in any way whatsoever. They’ve both lashed out because of the pain they endured and killed countless people in the process of lashing out.  The only real difference between them is that Judai is lucky. He had friends to support him at his lowest point, while Yubel didn’t. Does Judai learn from Jim’s example, and go out of their way to save Yubel the same way they were saved because Yubel is still a friend? Nope, Judai tries to kill Yubel at this point. 

I made a lot of friends... And they all taught me something… real love is wide enough, large enough and deep enough to fill the universe. Your so-called love is only a conceited delusion.

Like, Judai, sweetie baby honey darling. How was Yubel supposed to make friends when they were floating in the empty void of space?

Judai hasn’t learned, they are still ignorant, and still turn a blind eye to Yubel’s suffering. After all if his love is wide enough, large enough,and deep enough to fill the universe then why don’t thy have any room in their heart whatsoever for empathizing with Yubel?

Judai making friends while Yubel was trapped in space doesn’t make Judai a better person than Yubel, it makes Judai lucky. Judai doesn’t even appreciate that luck, because he treats his friends like garbage. It’s not about whether Yubel is worthy of salvation, because Judai is a mass murderer and his friends still went to great lengths to save them anyway. It’s that Judai doesn’t want to empathize with Yubel, because they still want to remain ignorant and irresponsible. Judai wants to continue playing hero, with a very black and white definition of what a hero is. By this point Judai’s killed lots of people, but if he makes Yubel the villain in the situation, he can keep playing hero. He doesn’t have to look at himself and what he’s done, because blaming everything that happened on Yubel and then putting Yubel down like a mad dog allows Judai to absolve his own guilt. Judai practically ignores Yubel’s cries for help, even when Yubel spells it out for them.

I couldn't have lived with the heartache unless I felt that I was being loved...

At this point Yubel themselves acknowledges that their love was just a delusion. That it was a coping mechanism, because they couldn’t live with all the pain otherwise. WIthout it they would have just died, which makes Judai unmoved. The implication here is that Judai thinks yes, Yubel should have just died in that crater. It would have been easier for Yubel to die a perfect victim, then for Yubel to crawl out of that crater and go on to hurt other people. While that may be true the same can be said for Judai - it would have been better if Judai died rather than become the Supreme King. His friends could have put him down like a mad dog, you could have even called that justice - but they didn’t. Judai making no attempt to save Yubel isn’t because he thinks it’s morally wrong to save someone who’s killed as many people as Yubel has, or because he thinks he can’t forgive Yubel, it’s because Judai is taking the easy way out. Johan is a nice, easy victim to save, because he’s Judai’s perfect boyfriend, while Yubel is a complex victim that requires Judai to understand their suffering. Even the act of saving Johan isn’t about Johan himself, it’s about the fact that Judai feels guilt over Johan’s disappearance. What Judai wants isn’t really to save a friend, but to stop feeling guilty over that friend. Judai isn’t just disgusted by Yubel’s actions towards his friend, he also wants to avoid the guilt he feels over causing all of Yubel’s suffering, because it requires acknowledging the complex reality that he is both victim and perpretrator in this case, just as Yubel is both victim and perpetrator. 

So how can an arc where Judai doesn’t try to save Yubel until the last possible minute, be better than an arc where Deku makes it his goal for the final act of the manga to save the crying boy in Shigaraki? 

It’s because the story does not let Judai get away with his continual refusal to empathize with Yubel. Yubel’s entire character revolves around empathy, in the form of sharing pain. As a duel monster, Yubel’s effect is that they are a 0/0 attack monster who is immune to all damage, but when you attack them they deal all the damage back to you. Which means that Yubel will respond to all the pain they feel, by causing you just as much pain in return. Yubel is not a character who can be defeated in a fight, or a duel. In fact they’re the only Yu-Gi-Oh villain who never loses a duel once. The most Judai can do is duel them to a draw, and they draw three times. Yubel wins against everyone else who challenges them.  In a way Yubel is like Shigaraki, the ultimate, unkillable enemy that can’t be done away with violence. Judai’s refusal to empathize with Yubel or attempt communication also makes them worse, every time Yubel is hurt they escalate. THe more Judai hurts them, the more they will hurt in return, it’s a cycle that will never be broken simply by killing Yubel, because Yubel is unkillable. 

Not only that but the story has gone to great lengths to show that saving Yubel is the correct course of action. If Judai doesn’t save Yubel, he’s basically spitting on the selflessness Jim showed in saving him. In fact if he doesn’t save Yubel, Judai is contradicting his own words on what makes a good friend. Sho once asks Judai after witnessing his brother change, what he should do if a person you lov ehas changed into an entirely different person. What if they're a person you don't even recognize any more? A person you don’t even necessarily like anymore? 

That's why if it were me. I'd probably just be looking after him until the very end, even if I didn't like him. I'd do it cause I think it'd prove that I care about him.

Judai doesn't even say that Sho is obligated to save his brother or morally redeem him, just that he has to keep looking at him instead of turning away or ignoring him.

Judai is being a bad friend, by his own definition. By choosing to deliberately look away from Yubel, Judai’s not living up to his advice for Sho for how you treat people you care about. 

Which is why the resolution for Judai and Yubel’s arc is so important, because it’s done by Judai finally acknowledging Yubel’s pain, and promising to watch over them from now on, words that are followed by the action of physically fusing their souls together so they’ll never be alone again.  Judai doesn’t just say pretty words about how they won’t ignore the crying child inside of Yubel, but instead he makes a sacrifice to save Yubel at risk to themselves to show their words are backed up by actions. Judai says Yubel will never be alone again, and then he commits. 

"And even if that means I won't exist anymore... I don't care."

Judai has resolved his character arc by this action, because Judai is finally taking on responsibility and that responsibility is watching over Yubel, so the two of them can atone together. Judai even says himself this isn’t an act of sacrifice on his part, but rather him finally accepting adult responsibilities. 

Judai: I wouldn't sacrifice myself for you guys. I'm just going on a journey to grow from a kid into a man.

Judai needed to save Yubel to complete his character arc and grow as a person. If Judai hadn’t saved Yubel, he would have still remained an ignorant child. By learning not to turn a blind eye to Yubel’s pain, and also smacking sacrifices and physically doing something to atone for the way they ignored Yubel up until this point they’ve not only saved Yubel they’ve also done something to address their wrongs. This also continues into the fourth season where Judai’s personal growth results in him learning what kind of hero he wants to be as in Season 4 in order to atone for the spirits that Judai slaughtered, he decides to leave his friends behind and walk the earth with Yubel helping spirits and humans get along with each other. In fact Judai’s final speech as a character isn’t even about how strong he is as a hero, but how weak he is as a person.

And I put my friends through some rough times. Form that, I figured a few things out... all I can do is believe in them.

The lesson Judai learned is because he’s weak, he needs to empathize and believe in other people the same way that his friends once believed in him when he was at his lowest point. Judai’s not the strongest hero, he’s the weakest one, but that gives him the ability to empathize with people who were lost just like he was, and guide them back from the darkness. 

The story of how Deku became the worst hero.

I’m going to say this right now it might turn out next week that Shigaraki is just fine, and he’ll use the overhaul quirk to reconstruct his body. However, even if that happens Deku has completely failed at his goal of saving Shigaraki for the reasons I’ll illustrate below. In theory, Deku’s arc of saving Shigaraki, and therefore winning by saving should be much easier for the story to accomplish and also much less frustrating to watch. After all, Shigaraki has been around since the beginning of the manga, he’s literally the first villain that Deku faces. He’s also the first villain that Deku talks to, where he brings up the idea that there were some people All Might failed to save. There’s also many intentional parallels between the two characters, the entire manga is about their parallel journeys of becoming the next generation hero and the next generation villain. Shigaraki even directly quotes the line at one point that all he wanted was for someone in his house to tell him he could still be a hero, the same line Deku said in the first chapter was that he wanted his mom to tell him to be a hero instead of apoalogizing to him for being quirkless. 

Not only is the setup for Shigaraki and Deku made obvious (Deku can redeem Shigaraki by telling him that he can still be a hero too), but Deku himself states out loud that he wants to save the crying child inside of Shigaraki. 

Judai runs away from Yubel the whole time, whereas Deku is running towards Shigaraki and actively makes it his goal to understand Shigaraki and continue to see him as a human being rather than a villain.  The story also makes it clear that saving Shigaraki is necessary to saving hero society as a whole. After all Yubel is just Judai’s victim. Whereas Shigaraki is the victim of all of society. He’s the crying child who was ignored. The cycle won’t be broken if heroes continue choosing to ignore people like Shigaraki, because more victims will grow up to replace him. 

Shigaraki: 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 took this power formyself? Simple enough, yeah? I don't care if you don't understand. That's what makes us heroes and villains.

Shigaraki rejects the world because the world continues to reject him. THe solution to this problem is not rejecting Shigaraki, because Shigaraki won’t go away, the system will just continue to reject people like Shigaraki. As long as heroes and villains don’t understand each other, they’ll keep being forced to fight and the conflict won’t end, because hero society is what engineers it’s own villains.

clear as day by the story itself. If the objective of saving Shigaraki is clear, then how exactly did the story fail in this objective? What went wrong? In this case it’s a failure of framing, and breaking the rules of “show don’t tell.” Stories are all about actions and consequences. When a character makes a certain action in a story, the way other characters around them, the world, and whatever consequences that action frames that action in a certain light. It provides context for how we are supposed to interpret that character in that moment. 

For example, when a character does something wrong and another character directly confronts them over what they did wrong, that frames them as in the wrong. The story is criticizing the character for what they did wrong. Context is everything in a story. Stories are just ideas, so they require framing and context to communicate those ideas for the audience. Certain character attributes can be strengths or flaws depending on the context. My go to example is that if you put Othello in Hamlet, the conflict would be resolved in five seconds because Othello’s straightforward personality and determination would have him kill Hamlet’s uncle without questioning things. Whereas, Hamlet constantly questioning and second guessing himself would lead to the worst ending possible. However, if you put Hamlet in Othello, then Hamlet wouldn’t fall prey to Iago’s manipulations, because Othello doubts and questions everything so he wouldn’t believe Iago the way Othello did. 

Hamlet’s contemplative and introverted nature can be a strength in one situation, and a flaw in another. Othello’s tendency to act without thinking things through can be a strength in one situation, and a flaw in another. Context matters, because context tells you how you’re supposed to interpret a certain characters actions, and therefore tells you more about that character. This is why people repeat “Show don’t tell” as the golden rule of storytelling, it’s one thing to say something about a character, it’s another to us the characters actions in the story itself to show them something about the character. 

What’s even worse then breaking the rules of show don’t tell however, is telling the audience one thing, and then going onto show in the narrative something completely different. In that case the narrative becomes muddled and confusing to read. If I the narrator say “Hamlet is someone who overthinks everything” and then in the story Hamlet walks up to his uncle and kills him with no hesitation, then the narrator is straight up unreliable. It becomes impossible to tell as an author what message I’m trying to get across about these characters, because I’m telling you one thing and showing another. 

This is why the writing fails in the second half of My Hero Academia because we are constantly told one thing, but then the story shows something entirely different and sometimes even contradictory to the thing we are being told. 

Judai is a much worse hero than Deku, he always runs away from Yubel, and we’re never directly told that he’s supposed to save Yubel either. However, the narrative is incredibly consistent. Judai’s behavior of running away is consistent with his character. All the other character call Judai selfish for abandoning his friends (and they’re not even talking about Yubel). Judai is never painted in any positive light for his actions, therefore we as the audience understand Judai’s behavior is wrong and he needs to fix it. The narrative makes it clear that Judai needs to grow up, and Judai is never rewarded for his refusal to grow up, he’s ruthlessly chewed out, not by his enemies but also by his own friends. However, the narrative isn’t merciless on him either. Season 3 of GX is dark, but it’s not grimdark. Even when Judai loses his way, he’s still shown love and compassion by those same friends who go to great lengths for his sake. The narrative criticize Judai but it never insists that he’s beyond redemption and needs to be put down like a mad dog. 

The message is very clear, that not only does Judai need to grow up, but he also deserves the chance to grow and change, which is why he should give Yubel a similar chance. In comparison the story sets out this clear narrative arc for Deku of understanding Shigaraki, but it never challenges him for failing to understand Shigaraki. If you listen to what the narrative says, how other characters describe Deku, and what Deku himself says and only read it on a surface level then yes, Deku’s goal is to save Shigaraki. If you analyze actions however, he is in effect just like Judai he never takes any meaningful action or steps towards Shigaraki, nor does he think of what saving Shigaraki might look like or entail. 

The story describes Deku as someone who is possessed by a drive to save others that eclipses all common understanding, but does the story give us any examples of that behavior?

Judai is characterized as a selfish, irresponsible child, and the story gives us countless examples of his immaturity and how it hurts others. Does the story of MHA do the same for Deku's purported virtues? Let’s run through Deku’s actions, step by step, the actions themselves and how they are framed in order to find any evidence that Deku possesses this drive to save others. Does Deku reflect at all on the question of:

Can Shigaraki be Saved?

Deku leaves on a journey to try to understand villains. When he makes a perfunctory attempt to understand and empathize with Muscle, and Muscle replies that some people are just evil does Deku keep trying to reach his heart? Nope, he just punches him. 

Well, if he’s failed in his goal of understanding a villain then does the story call him out on his failure? Does Deku face any sort of narrative consequence for that failure? Is he framed negatively for failing to understand Muscle, the same way that Judai is framed for abandoning Yubel? Nope. Deku doesn’t express any frustration at all over is inability to reason with Muscle. There’s also no negative consequence for Deku just choosing to punch muscle, it turns out that there was no reasoning with Muscle and some people are just bad eggs so Deku was right. It’s okay for characters to fail, but if a character fails and it’s not framed by the story as a failure then the writing itself as failed. Why even bother to include this scene in the first place if it doesn’t advance Deku’s character in any way? This scene in spite of showing Deku failing to understand someone actively paints Deku in a positive light, because of how much stronger he is ow that he can OHKO a guy that gave him trouble all the way back in the camp arc.

This scene doesn’t tell anything about Deku as a character, it just makes him look cool. In fact that’s precisely the problem, Deku isn’t adequately challenged as a character, because he’s never allowed to fail. Even when he does obviously fail at the things the narrative set out for him to do, he’s never challenged on those failures, because the priority isn’t to make Deku grow, it’s to make Deku look good.  As I said before, Judai is the hero because he’s the weakest. Deku is the hero because he’s the strongest. Well, next a big flaw on Deku’s part is that he worshippd the same heroes that were making the world corrupt. Heroes like Endeavor who created people like Dabi. So, does Deku take action to either criticize the older generation of heroes, or separate himself from them in order to try to be better than them? Nope, he teams up with them. Not only that, Deku can’t do something as simple as tell Gran Torino out loud about his plans to save Shigaraki. If Deku feels that Shigaraki is worthy of salvation then he should at least try to make an argument here about his ideal of saving others.

Now here’s the thing, if Deku hadn’t directly looked at the camera and told us he wanted to save Shgiaraki, would we be able to deduce his intentions from his actions? If you took away all of Deku’s internal monologue, and just showed him punching Muscular and saying nothing when Gran Torino says he may have no choice but to kill Shigaraki would anything about Deku’s actions indicate that he wants to save Shigaraki? Let me use avatar the last airbender as a positive example for a moment. People say that Aang’s desire to spare Ozai’s life comes out of left field, but like if you analyze Aang as a character down to their bending, and the way they react in situations they always prefer de-escalation, or taking a third option as opposed to confronting things head on. It’s literally why Toph says Aang has trouble learning earth bending, because as an airbender, he always tries to look for some other way to solve the problem, instead of a direct confrontation with force. As early as season one, Aang tells Zuko someone who has tried to kill him several times that he was friends with someone from the fire nation one hundred years ago and in a different situation they could be friends. Aang’s desire to save the Firelord may not have been told to us until the last possible minute, but Aang’s aversion to violence has always been a part of his character from the beginning. However, Deku never shows any similar aversion to violence. There’s basically no example where he ever tries to de-escalate a situation, or he avoids a conflict by seeking a third option. 

Anyway, let’s move onto the next example. In the confrontation where Lady Nagant fights Deku, when Deku learns the fact that the heroes were employing government hitmen to attack people for uhh… exercising free speech does Deku give any reaction to this information? When Lady Nagant says that Deku is only going to bring back the status quo, does he show her any meaningful evidence that he won’t do that.

Deku’s response is because the world is so grey, he needs to extend a helping hand to others. Which you know what thay could be a response. Deku saying that his response to the corruption of the hero world is that he now understands that society led some people down the wrong path, so his way of addressing the wrongs of that society is lending a helping hand to as many people as possible even people he used to think was irredeemable. 

I will give Deku the benefit of the doubt, I think this is an acceptable answer. I can’t save everyone, but that’s not going to stop me from trying to save as many people as possible and maybe I can save people who were this society’s victims on the way too.  However, does Deku demonstrate his resolve to extend a helping hand in any meaningful way. 

Deku is met with an armless, insane Overhaul who’s begging for someone to help heal his father figure in the Yakuza from his coma. This isn’t like Muscular who insists that there’s no helping him, Deku is met face by face with someone asking him for help. Deku’s gotta extend a helping arm whenever he can, because he knows some people were abandoned and led astray by this society… Unless that person is someone he doesn’t like personally. At which point he only helps them on a conditional basis. We are told Deku will save anyone and everyone, but Deku is met face to face with an armless man who is begging for help and Deku’s does nothing to help him. Deku’s not criticized for refusing to help overhaul either, it’s never brought up again. When Deku begins to experience a mental breakdown because of all the people he’s trying to help in the Dark Deku arc, we are told this is the result of Deku trying to save everyone, but we do not see Deku attempting to save a single villain after Muscular and Nagant. 

He exhausts himself beating up villains that AFO sends after him, and only helping innocent civilians. Which would be fine if this arc were about how Deku is running away from his real responsibilities the same way that Judai was running, but that’s not what we’re being told. We are told that this is all part of an arc of Deku learning to understand villains and be a hero.

Deku is asked “Can you save Shigaraki?” by the story, but Deku never at any point has to deliberate on that question. Judai doesn’t deliberate on that question either, but him choosing not to think about things and stay ignorant is the point. 

It’s actually fine to make Deku stagnate as a character. It’s fine to have him take the easy way out by just punching villains and giving up on them after one conversation. It’s fine for him to be empathetic to other people’s suffering, or even self-righteous. It’s fine for him to be ignorant. 

He could be all of those things if it was a part of a narrative teaching him to unlearn his behavior. In fact the narrative might have been better if Deku started out by saying he didn’t want to save Shigaraki, that there was no choice but to kill him, because then at least his actions would be consistent with his words. Then his lack of empathy and his tendency to resort to violently beating up villains instead of avoiding violence would be character flaws he could work on. Deku however, is presented to us as this empathic hero who is always willing to give others a second chance though he never actually sticks his neck out in order to do so. Continuing on with our slow crawl through MHA, one of Deku’s friends is revealed as the traitor. Deku has a heartwarming scene fo saying that Aoyama can still be a hero, but look at his actions. He lets the adults in the room physically tie Aoyama in a straightjacket and imprison him, for the crime of… doing bad things while he was in a hostage situation. Apparently, if a bank teller helps the bank robber by giving them money when the robber has a gun to his head, the swat team should just snipe the bank teller. Not only does he not defend Aoyama against the adults, or stand up for him, or tell the adults they’re wrong to treat Aoyama a clear cut victim who had a gun to his head and was bing held hostage like he’s a villain - he also lets the adults use Aoyama an innocent victim as bait in order to lure out AFO.  Deku tells Aoyama he can still be a hero, but he doesn’t defend Aoyama as a victim of being taken hostage, nor does he stop the adults from further taking advantage of him and throwing him right into danger. Some people are just led the wrong way that’s why they need to be extended a helping hand, but fuck Aoyama I guess. He needs to earn the right to be sympathized with by physically putting his life in danger. 

Deku can’t even go out of his way to save a friend who he’s known for the better part of a year, when that friend is a complex victim forced to do bad things. 

Then Deku and Uraraka have a conversation where they both, kind of ruminate on the idea that maybe the villains are human beings who are worthy of sympathy.

In fact Uraraka is actively trying to dehumanize Toga by looking at the destroyed city, so she won't have to think of Togaas a person.

The language here is also a major fault of this arc. It focuses far too hard on “forgiveness” over and over again. As I said before, saving Shigaraki isn’t about Shigaraki at all, it’s about Deku, and how he wants to use his power as a hero. Deku has even stated himself that he doesn’t believe that OFA is a power that should be used for killing people. So why does whether Toga or Shigaraki are forgivable or not even matter? It’s the same with Deku refusing Overhaul any sympathy. If he’s so morally opposed to abusers, then why does he work with Endeavor and defend him at every visible opportunity, even in front of his victims? Whether or not Deku can forgive Shigaraki doesn’t matter, because Deku is not the moral arbitrator or right and wrong. In fact Deku doesn’t even have any morals, so how is this a moral debate? Is there any point where Deku gives a clear definition of what he thinks right and wrong is? Does he quot Immanuel Kant to the audience? 

Batman doesn’t kill people, not because he thinks that every last person on earth can be saved, but because Bruce Wayne an incredibly rich white man thinks that maybe he shouldn’t have the authority to decide who lives and who dies. When Bruce doesn’t kill the joker, it doesn’t mean he thinks the Jokers actions are forgivable, it’s because Bruce thinks it’s not his place to determine whether someone has the right to live. 

The whole conflict that MHA presents us is that heroes pick and choose who to save, and only save the ones they deem as innocent. So, how does Deku saying repeatedly they can’t forgive Shigaraki contribute to that theme in any way? In fact by focusing on forgiveness, rather than whether or not he personally has the right to pick and choose who lives and who dies Deku is ignoring the elephant in the room. The question isn’t about whether Shigaraki’s redeemable or if his deeds should ever be forgiven. The question is whether Deku has the right to decide who gets saved and who doesn’t. 

We are told that Deku as a character is someone who wants to save everyone no matter what, so Deku shouldn’t be focusing on whether or not Shigaraki is worthy of forgiveness, he should be making an idealistic argument like Xavier does in this panel. Why doesn’t Deku talk out loud with Uraraka on how he believes his power is for saving others, and not killing? If he’s meant to represent some idealistic hero, then why doesn’t he even talk about his ideals? Why don’t I as the reader know what those ideals are?

I think Xavier’s ideals of forcing the X-men to provide a good example to the mutant community, in order to try to earn the respect of other human beings is wrong, but at least he has ideals.  He tries to inspire the other people around him to live up to those ideals. The story can criticize him for his ideals and point out how they’re wrong, while it can also uplift parts of his idelogy like where he believes there are no evil mutants. Deku has a chance to do the same to Uraraka, to tell her clearly, “I don’t think we as heroes have the right to pick and choose who we help…?” but he waffles. Not only does he waffle, but this moment is meant to be read as an indication that both Deku and Uraraka are sympathetic individuals who want to save their villains. They are supposed to look good and idealistic here and they don’t. For Deku it just seems like a repeat of his behavior with Overhaul. The only villains that are worthy of sympathy, are the ones that he personally decides are forgivable. 

The story isn’t about whether or not it’s moral to save someone who’s killed as many as Shigaraki has. The story never seriously discusses any sort of complex morality or moral philosophy. Once again to bring up avatar, yes you can argue Aang sparing the life of a war crimminal is bad, but Aang mentions on multiple occasions that he wants to retain the cultural values of the airbending people. Aang has a morality, a consistent morality, it might not be a morality you personally agree with but at least he has one. Deku hates abusers, unless he’s next to Endeavor then he thinks abusers should be given the chance to atone. Deku doesn’t believe that One for All is a power for killing, but he never stands up to any of the adults who are blatantly trying to kill Shigaraki, he doesn’t even express out loud to Uraraka that he doesn’t think heroes have the right to decide who lives and who dies. In fact he’s given the perfect opportunity to, when Hawks kills a villain and it’s broadcast live on the news in font of everyone, but Deku never has anything to say about that. The reason Deku and Uraraka both put such an emphasis on “forgiving” their villains has nothing to do with the story itself. It’s because the author Horikoshi, is afraid that some people will misinterpret his story as saying that he actually thinks that saving a villain like Shigaraki means that he condones mass murder, so he has to have the characters talk about not forgiving Shigaraki. 

Judai doesn’t have any consistent morals either, but once again that’s the point and something the story relentlessly calls him out on.

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. 

Judai’s regularly called out for his superficiality. Judai is only a hero because he’s strong and wins fight, he doesn’t feel any responsibility towards other people, and in fact he loathes having to feel responsible for others. Judai isn’t just naive, he deliberately chooses to remain ignorant. Since he’s ignorant of his own faults, he makes awful decisions when it comes time for him to lead, and his friends die because of choices he made. We are told that Deku doesn’t want to remain ignorant, that he wants to understand villains, but Deku’s actual actions are him continuing to ignore society’s ills and the suffering of victims. In fact if you take away Deku’s internal monologue and the narration, Deku’s actions almost exactly mirror Judai’s.

Deku is just as superficial as Judai, and he also doesn't want to spend any time thinking about what kind of hero he wants to be, but the narrative never punishes him for it.

Judai is asked what burdens he has to bear and he has to meaningfull answer that question, Deku is allowed to get away with not having to think about anything. Deku remains superficial. Both Judai and Deku spend the entire arc running away from their villain rather than confronting them in any meaningful way. They both never express out loud any sympathy for their villain, or try to empathize. THey both never step down from the role of hero, and only confront their villain as a hero, because they don’t want to think about themselves as complicit or in the wrong. Shigaraki and Deku’s final confrontation mirrors Judai and Yubel’s but without the same clear framing. THe entire time Yubel is trying to get Judai to empathize with them, and Judai only responds with physical violence, because they don’t want to stop being the hero and because they can’t see Yubel as anything other than the villain.  As soon as Deku arrives on the battlefield (by the way everyone else and their mom pointed this out, but Deku who doesn’t think OFA is a power for killing, is completely okay with a plan called the “Sky coffin plan” where every other hero was clearly trying to murder Shigaraki).

When Deku arrives he asks if Shigaraki is still in there, but he doesn’t do anything to try to reach Shigaraki, he jumps right to punching him. In fact he never tries anything besides punching him as hard as possible. How is punching Shigaraki with the force of a thousand suns saving him exactly? How is that different from how he tried to defeat Shigaraki the last war arc, before he saw the image of the crying child that made him want to try a different approach in saving Shigaraki?  In Judai’s final fight with Yubel, it’s made explicitly clear that Judai is not trying to save Yubel, and that’s a fault on his part. In fact Judai gives the traditional “I have friends, and you don’t” speech to Yubel but it’s a subversion of how that speech is usually used. Usually that speech is used to show that the protagonist won because of they valued friendship,while the villain treated their friends poorly and only cared about power. However, it’s ironic in this case because Judai got all of his friends killed. Judai treats his friends like garbage. This speech isn’t used to show that Judai is winning because he values his friends more than Yubel does, it shows that Judai is a hypocrite, playing the hero in this situation where they are just as bad as Yubel. Judai’s not morally superior, he’s just lucky that he has good friends. Friends that were willing to save him. The only connection Yubel has to anyone else, Yubel’s only friend is Judai and Judai is a shit friend. 

In fact, Mirio tries to give a version of the “You don’t have any friends” speech to Shigarkai, only for Shigaraki to get mad and tell Mirio that he does have friends and people he wants to protect. 

This fact is also something that is blatantly ignored by Deku, even though Mirio tells him about it… even though we are told that Deku is trying his best to see the humanity in Shigaraki. 

Judai blatantly admits they’re trying to kill Yubel. Which makes them a worse person, but a better character than Deku, because their actions are clearly framed by the narrative and consistent. 

On the other hand we are told that Deku doesn’t want to kill Shigaraki, and yet everything Deku does makes it look like he’s just trying to kill Shigaraki and put him out of its misery. If we didn’t have Deku stating out loud that he wants to save Shigaraki and wants to see him as a human, there’d be nothing in his actions to indicate that he’s trying to avoid killing Shigaraki. Deku says he can’t pretend he didn’t see Shigaraki crying, but like, does he ever hesitate to punch Shigaraki, does he ever think that causing Shigaraki more harm is wrong when he’s already suffered so much? Deku says that Shigaraki is a person but does he treat him like a person? Does he try to talk to him like a person? To use avatar again, Aang does talk to Zuko pretty early on. Deku doesn’t even give the classic “We could have been friends under different circumstances” speech. When Shigaraki resists Deku’s attempts to see him as a person or emapthize with him, Deku’s response is to just resort to punching harder. 

Which is in effect the same thing Judai does to Yubel, just kill them as a villain so they don’t hurt anybody else, but framed in an entirely different light. Judai is shown to be ruthless, and cold in his attempt to only settle the conflict with Yubel by violently putting them down. On the other hand we’re being told that Deku is compassionate and empathic while he punches Shigaraki with the force of a thousand suns. 

There’s another eerie similarity between both of these final confrontations. At the climax of the confrontation, both Judai and Deku have a psychic vision where they see events from Yubel and Shigaraki’s childhood. This vision is supposed to help both characters understand the good in the villain they’re facing.

Let’s see the contents of this vision and how the visions change each character. Judai is shown a vision of his past life where Yubel sacrifices their entire body, and even their humanity to go through painful surgery to turn into an ugly dragon, all for the sake of protecting Judai in a previous life. 

Judai is then forced to witness the good side of Yubel they’ve been ignoring all along to paint them as a villain. Yubel is simultaneously extremely selfish and willing to hurt people Judai cares about, but they’re also extremely selfless and will do anything to protect Judai and have made great sacrifices in the past for Judai’s sake. Deku gives lip service to not ignoring the humanity in Shigaraki, but Judai is literally forced to acknowledge the humanity in Yubel. Not only that, but Judai changes his behavior immediately after learning this new information. After seing the sacrifice that Yubel made for him in the past, Judai responds with a sacrifice of his own. A sacrifice that perfectly mirrors the sacrifice that Yubel once made for him. Yubel gave up their humanity for Judai, so Judai fuses his spirit to Yubel’s, becoming a human / spirit hybrid so Yubel no longer has to be alone. 

Judai also doesn’t just fuse their soul with Yubel’s in order to stop Yubel from destroying everything, it’s because both of them at this point need to atone together, and Judai is fulfilling his responsibility of watching over his friend until the end to prove that you care about them - as he said to Sho. Judai’s also fulfilling Johan’s dream of helping repair the bonds between spirits and humans, by reconciling with Yubel and repairing their bond. It’s also Judai atoning for his previous behavior of abandoning Yubel, by choosing to stay alongside them as they both atone together. Deku does sacrifice OFA during the fight against Shigaraki, but their sacrifice isn’t to help Shigaraki, but rather doing psychic damage to Shigaraki by using OFA is the only way to defeat them. He transfers OFA in order to break Shigaraki’s brain so he’ll stop reissting and Deku can beat him down. Judai fuses their soul together with Yubel out of empathy and a responsibility they feel to help their friend fater abandoning them, Deku transfers One for All to Shigaraki in order to hurt him and make him easier to punch. It's funny that Deku doesn't travel to Shigaraki's mind to learn more about him, but instead with the specific intent of harming him.

Once he's inside Shigaraki's mind, he doesn't take time to reflect on how Shigaraki used to stand up for bullied kids, or how he wants to be a hero to villains because no one else will stick up for the outcasts in society. No, he only care about Shigaraki when he takes the form of a child crying for help.

In the aftermath of the psychic vision Deku’s behavior doesn’t change towards Shigaraki in any way either. You could say he sacrificed his own arms in order to try to comfort Shigaraki within the depths of his own mind - but that’s not a real sacrifice either because his arms immediately come back.  When Judai learns about the sacrifice that Yubel made in a previous life towards him, he stops seeing Yubel as an enemy and finds a way to resolve things peacefully between them. When Deku lanterns that Shigaraki’s a victim of All for One, and that his entire life was a lie, when he sees Shigaraki’s suffering first hand does his beavior twoards Shigaraki change in any way? 

When he sees Afo has taken over Shigaraki’s body again, does he try to shout for Shigaraki, to tell Shigaraki to fight from the inside, to reassure Shigaraki that he’s still in there that there’s still good in him? Nope. He just punches Shigaraki some more.

What Deku needed to tell Shigaraki is so obviously set up by the narrative too. Shigaraki wanted just one person in that house to tell him he could be a hero. Deku wanted his mother to tell him he could be a hero if he was quirkless. Deku sees that Shigaraki started out as a boy who wanted to be a hero, and who was manipulated into being a villain but does he try to appeal to the boy inside of Shigaraki by telling him he can still be a hero? Does he now see the good in Shigaraki? Nope, he just tries to kill him by punching him really hard. 

I purposefully chose the images for the banner of this post, because it shows how differently MHA and GX treated its villains in the end. Yubel is embraced by Judai in the end, Shigaraki evaporates into dust.

"Judai, now that our souls have become one we will never be separated again. I have now been filled with your love and power. Let us fight together, against the wave of light leading this universe to destruction!"

Shigaraki could so easily have been given the love and empathy that Yubel was shown, but instead their life ends with no show of empathy from Deku, and with them dying believing that their long life of tragedy meant nothing in the end. Shigaraki realizes he's a crying kid, but he's never comforted.

Shigaraki: I only stole my body back from Master, and I didn't destroy anything. "In the end, I was just as you said... A crying kid, huh?"

Yubel is embraced and comforted, Shigaraki disintegrates into nothing.

One of these stories is apparently an optimistic story about heroes saving people, but it ends with the lifelong victim being killed in the most nihilistic manner possible, never receiving comfort, and never achieving anything with his long life.

The other story is a silly anime about card games, shows that when people are alone and suffering they can lash out and do terrible things. That all people are weak especially when they're alone, but the solution isn't to abandon them, or condemn them for their faults, but to believe in them and help uplift them the same way that Judai decides to uplift Yubel so they can atone together.

Which is why Deku gets an F in being a hero. Go directly to summer school. Do not pass Go. Do not collect $100. 

[writingwithcolor]

Any advice for handling race in reincarnation situations?

@swamp-spirit asked:

I'm writing a story that includes characters being reincarnated with completely different appearances. It's a fantasy world, and most of the characters are being reborn in the same region, but I still want a range of skin tones and features in the main cast (this is a comic). I have weird feelings about a character being 'reborn' with notably lighter or darker skin, but it also feels implausible and lazy for people to Just Happen to have a similar appearance when the theology of the story doesn't support it. Characters being reborn, and taking out things specific to real life groups, what are the major things you'd want an author to read up on or take into account? (Note: there is not a 'white' looking ethnic group in this story)

I don’t think it’s a problem as long as the skin tones don’t have any correlation to the circumstances that they’re reincarnated into.

- SK

It’s an interesting question, because in most religions where reincarnation/ transmigration of the soul is a feature of “what happens after death”, remembering one’s past life is not really part of the package deal. From what you’ve written, it’s not clear to me where the “memory” of these characters’ lives are held. Is there a 3rd person omniscient narrator telling the audience who each person is in their next life or do the characters themselves retain memory of past lives?

Assuming this is your typical reincarnation scenario where characters retain no memory of previous lives, it doesn’t much matter. The next life is the next life. Who a person was in their previous life and that identity, in theory, means nothing to them. This also means whatever personality, values, experiences and so on they had in their previous life no longer has meaning. They are, in effect, another person. However, you say you feel awkward about the above which makes me wonder if characters are remembering past lives, in which case…

If you study pretty much any major Asian religion where reincarnation is a part of the belief system, having no memory of the previous life is par for the course. In present-day religions like Jainism, Sikhism, Hinduism and Buddhism, only “special” (I’m using the term very casually here) entities like bodhisattvas, guru, arihant, buddhas, etc. usually get to keep their memories, while the rest of us (literal) mere mortals are supposed to lose our memories between lives as a part of Samsara. In Hinduism, even the gods often forget their previous lives, unless their reincarnation had a targeted purpose (Like being born to defeat an evil entity). 

For most people, it is only through prayer, devotion, meditation and accumulated virtuous/ good/ compassionate deeds that humans are thought to deepen their understanding of the nature of the universe, and thus have the capacity to remember past lives (I’m, again, paraphrasing very loosely here from several years worth of university history+religion courses).  

This is why the isekai genre in Japan is largely regarded as a “cheat”/ parody genre of fantasy. The protagonist, according to common Japanese cultural beliefs, which are quite heavily grounded in Buddhism, is definitively “cheating.” Not to get too ironically biblical, the character’s success often comes from the forbidden knowledge borne of their previous life. 

Thus, there are two ways I look at your characters’ predicaments: 

It’s not technically reincarnation - not by the way most major world religions define reincarnation, anyway. You have people who died now inhabiting other bodies, but that’s not the same as the transmigration of the soul. Also, you want to delve into the weirdness (and maybe heaviness) of “Wow, I went to sleep with one face and woke up with another.” There are certainly stories about people who have had dramatic cosmetic plastic surgery, weight loss surgery, HRT, etc. and then experienced the difference in the “before” versus “after” of how their altered physical appearance makes them feel, as well as how other people treat them. Even if the community your characters are born into now differs from their previous community (Which I guess would make this more a “I traveled between dimensions, and my appearance altered in the process” sci-fi adjacent affair), their new life will still have social environments with differing attitudes towards human physical appearance that will affect your characters’ emotional states. 

Isekai it up and play with the ridiculous contradiction of having past lives and differing memories of one’s appearance. Isekai manga, manhwa and webtoons all make use of this trope heavily, especially with protagonists who experience a “glow-up” (Ex. Going from a Plain Jane OL to beautiful fantasy heroine) or, by contrast, protagonists who end up in very different forms from their original lives (Tensura, I’m a Spider, So What?). I’d be creative and go even more granular. Being able to tan after a lifetime of getting sunburns or no longer needing glasses might be nice, but what if the new body lacks the enzymes to process dairy or alcohol? What about dealing with differences in hair texture? Skincare routines? What about living life as a very tall person after being quite short or vice versa? What if you bumped into an acquaintance from your previous life, and one of you clearly got a more “coveted” reincarnation?  See how far of an extreme you can take this idea until it feels too uncomfortable or ridiculous. 

Marika.

[we-stan-cale]

I was thinking a bit about character development.

Like, Cale, Choi Han, and Alberu have a beautiful friendship - and it grew over the course of the entire story.

I'm probably going to talk about later parts of the story, so Imma put the rest behind a divider so you can avoid spoilers

In the beginning, Choi Han was loyal to Cale but .. it was kind of shallow.

Choi Han didn't understand why they had to wear those shitty Arm robes, was shocked when Cale created his alibi by drinking, and so on and so forth.

He followed Cale, but he didn't really know Cale that well yet and that was clear.

Oh, and it was much more of a hierarchical relationship. Cale as his legs, Choi Han as Cale's knight.

This slowly began to change, though I think there were a couple of key turning points.

Cale almost dying after the Battle of the Gorge was one of them.

I think that's when Choi Han truly realized he couldn't trust Cale when it came to his health. Not that he hadn't seen signs before, but Cale always brushed things off and I think this was when Choi Han realized that no, it's really not okay, no matter what Cale says.

After that, we see Choi Han start asking more questions...

And Cale (with a clear flashback to his time as a team leader, where his people desperately wanted to help more) actually answered them.

The relationship started to shift, and become less liege and knight, and more colleagues. (This, btw, came from both of them. Choi Han asking more, and Cale telling more. Somewhat. A little bit.)

They definitely grow closer in other ways - Choi Han telling them about his long life after they found the Dragon Village, for example. (Though Cale already knew it, so you also see just how much Cale is still keeping his secrets).

And then...

We get Choi Han receiving Choi Jung Soo's memories.

That causes the biggest shift yet.

Now they aren't just liege and knight.

Now we have Cale thinking of Choi Han as his best friend's elder (even if Choi Han doesn't feel a need for that).

Also, Choi Han now knows. Not just that Cale is a transmigrator, not just about his life as Kim Rok Soo, not just about the cataclysm (and what happened to the Choi family).

He also knows about the tragedy that has pretty much defined Cale. He may not know about the aftermath, or Cale's time as team leader, but he knows that Cale was devastated after losing everyone.

We also see Choi Han (who got Syrem's ancient powers and now knows what it's like to use them) insist that Cale shouldn't absorb the Blood-drenched Rock power, a potential standoff that ended when Cale found another way and used Embrace instead.

They are no longer liege and obedient knight.

And then came the sealed god's test, where Choi Han gave up quite a lot of his potential lifespan, just to join Cale in one of the worst times of Cale's life.

And he was happy for it.

We see Cale truly overcome with emotion. The trust and friendship between the two of them is just beautiful.

And I truly meant to talk about Alberu as well (him joining them also adding to this) but I only realized when writing this just how much I had to say about Cale and Choi Han, so maybe I'll do that another time.

Anyways.

That still wasn't everything. Because we also had the indignity test...

And while I think the author didn't fully finish everything Choi Han saw because it'll probably come up in part 2 (it hasn't yet, but I think I see the author building up to something. Because so far they've all been too busy to really address a few things, plus apparently there's dragons dealing with time? Anyways, I suspect we'll get more on Cale's childhood, and what Choi Han knows, and some other things, but we'll see. It took almost 300 chapters in part 1 before we got all the amazing scenes with Cale and Choi Han and the sealed god's test and instant so I'm willing to let the author build things up again.)

Oh, sorry. What was I saying? Right.

Even though we don't have the full story, we know that Choi Han knows.

And in one of the side stories, he says this:

He didn’t know at first, but that person’s days of rest that Choi Han saw was more of a period of recovery than days of rest. Of course, the person himself thought that he was playing around, but it did not seem like that to Choi Han at all. That was why his people, who at some point realized the meaning of this rest day, tried their best not to bother his recovery.

And again, in the same side story but referring to a moment later in part 1

Cale was mumbling. “Haaaa. It’d be great to be a slacker.” Choi Han knew the meaning of those words. ‘I want to rest. I need to heal.’ That should be the meaning. However, he now knew what Cale would say after that.

And skipping the specific details, what Choi Han probably meant when he said he knew what Cale would say after that

Cale looked toward the east and calmly commented. “There are too many things to do, so I can’t rest.”

Choi Han understands Cale 1000x more than he did when they started.

And Cale understands Choi Han better, too.

Which is probably a topic for a whole other post, considering Cale initially almost seemed to put Choi Han on a pedestal as the hero and protagonist of the story.

[feminist-furby-freak]

Could you elaborate on how gender ideology is misogynistic?

Sure. So gender ideology (see previous ask for how I define it) is misogynistic because it denies the present and historical reality of the sex-based oppression of women, reinforces the gender binary through its obsession with gender and gender roles, and jeopardizes women’s safety by privileging AGP men. Here are some examples:

It erases gender non conformity as a normal expression of the self. We see this through the “transing” of gender non conforming children and adults, particularly feminine gay men and masculine lesbian women. TRAs love to scream that we (GCs and TERFs) are obsessed with gender roles and uncomfortable with gender non conformity when they are the ones that promote the idea that men who present feminine and women who present masculine actually need to transition. I know so many detrans butch women who were told as teens and young women that they needed testosterone and surgery to fix them. What is more regressive than telling GNC people they actually need to become the opposite gender?

It denies the reality of sex and sex-based oppression. There are two camps for gender ideologists: gender identity is more important to one’s lived experience than their biological sex and gender is real but biological sex is not. Both of these ideas are misogynistic and false. Women’s subjugation for millennia across the world is not due to their “gender identity.” To say that femaleness isn’t real or that it is something an individual chooses to be is to say that women opt/opted into their oppression, or worse, that sex-based oppression never existed at all. How does the taliban chose which children can go to school? Do you think they go up to every child and ask them their gender identity? Of course not. It is unbelievable how TRAs have brainwashed so many people into denying the existence oldest and most universal form of oppression. This falsehood is so prevalent in academic spaces it has created a revisionist history and permeated science and medical research. Periods, pregnancy, and women’s health issues are now considered TERFy and we have to do this linguistic dance with dehumanizing terminology to discuss our own bodies. Ideology is more important than reality and medical authorities are parroting lies (TIMs can safely breastfeed, puberty is reversible, testerone does not have dangerous side effects) with no scientific basis without repercussion.

It privileges trans identified men over women. Gender ideology is not more scientifically or psychologically sound than gender critical ideology. Gender ideology has been arbitrarily accepted as The Truth by the left. TRAs will say that it is the compassionate or moral opinion and thus correct but this privileges the interests of trans identifying men over the interests of women. After all, morality is subjective. Take sports for example, women want a fair chance to participate in athletics and trans identifying males want to be validated by playing in female sports. The two interests conflict but the left has decided that the wants of the male athletes are more important than the wants of the female athletes, and this is treated as the obvious morally correct stance. But is it so obvious? I don’t think so. Nobody can answer why trans identifying males (because let’s be real trans identifying females never get special privileges) are prioritized over everyone else.

Feel free to send another ask if you have more questions.

[cy-cyborg]

It will never not be frustrating to me that amputees appear in fiction ALL. THE. TIME. and yet they're almost never acknowledged as such. The Cyberpunk genre is especially guilty of this: amputees and prosthetics becoming a normalised part of life are a defining part of the genre/aesthetic and yet no one even consults with any amputees about how we get represented there. Most writers in those genres don't even consider that giving your characters cybernetic arms and legs means they're an amputee.

CW: Ableism, dehumanisation

This makes it REALLY uncomfortable to engage with stories in the genre because another common aspect of cyberpunk is the idea of losing yourself and becoming something distinctly not-human anymore because you have too many cybernetic augmentations/implants. Shadowrun even has mechanics for this, which state if you get too many prosthetics, which is what cybernetics are 9 times out of 10, your character becomes a monster. These mechanics and discussions surrounding "how many robot bits make you not human anymore" are really, really uncomfortable when you remember this isn't something that's unique to a far-off future setting. Those people you're discussing the humanity of already exist. They're called amputees. If you reframe the question as "how many amputations can you have before you stop being a person" I hope you can see why an amputee like myself is not going to feel safe around you or in your fandoms.

And it's a shame, because I REALLY want to like Cyberpunk. I really, honestly do. I love the aesthetics, I love the idea of big corporations being the villains and the anti-capitalism at the heart of the genre, and I love the idea of prosthetics being not only destigmatised, but desirable. When written from a disability-inclusive lense, it honestly has the potential to be an incredibly uplifting and empowering genre. but as the genre stands right now, it's actively hostile to the very folks who are usually the stars of its stories: amputees, all because people just refuse to acknowledge us.

Cyberpunk isn't the only genre guilty of this, it's common all throughout sci-fi as a whole, but Cyberpunk is the only one where it starts becoming a serious issue due to its rampant dehumanisation of a real group of people. In other sci-fi settings, it's just kind of annoying and while it can be a form of erasure, it's not usually harmful, just...frustrating. Fantasy does it on occasion too, think pirates with a hook and a peg leg, but nowhere near as much.

If you, as an author or creator, use any of these words to describe a character or their tech in a sci-fi setting:

cybernetics/cybernetic enhancements

bionics

robot limbs

cyborgs

augmentations

You are probably writing an amputee. Please, at the very least, acknowledge it, and be mindful that those are real people who actually exist, not just a fantasy group you can speculate about.

edit:

I originally posted this article on my old Tumblr account and lot of people commented/reblogged to tell me that originally in cyberpunk, the "less human the more robot bits you have" only applied to people who opted for their limbs to be replaced by cybernetics, because it was seen as "renting out your body to corporations for money" but people who had to get cybernetics out of necessity weren't impacted. The thing is though, I really don't think that makes it better, for a few reasons. For one, where do you draw the line at "opting" to get a cybernetic prosthetic? This isn't a black and white thing, even in real life. Most amputations are done out of necessity, but there are situations where it's not the only option, just the best one. Talking from personal experience, I lost both my legs below the knee as a baby, that was a pretty clear cut case, I had a blood infection and gangrene and they had to act fast. But the infection caused lasting side effects and impacted my physical body's development and growth. By the time I got to my early 20's it was causing a lot of pain in my right leg, in my knee specifically, and when I got a bone infection in the end of that stump, I chose to have the whole thing amputated up to the knee. They only needed to take a few inches off the end of my stump, but I asked them to go higher, because of the ongoing issues in that knee, issues that would have been made worse by the shortening of the leg. I choose to remove the whole thing, knowing the joint was degrading and I probably would have lost it later in life anyway. Even if it was salvageable, it would mean much more surgery, and I've had enough of those. A boy I played wheelchair basketball with was born with a partially formed leg, it was half the size of his other leg and he wasn't able to use it al all, it was just dead weight, so he opted to get it amputated too for convenience and so he could use a prosthetic on that side. I worked with a girl who's hand didn't form properly in the womb, resulting in a normal palm, but tiny "finger nubs" (her words) with no bones inside. They weren't actively harming her usually, but she opted to get them and the top of her palm amputated after an incident at work where we were tying balloons and one of her nubs got stuck in the knot. She decided to get them amputated because it meant accidents like that would be less likely, and she could use a prosthetic more comfortably. All 3 of these are considered "optional" amputations, so would people like us be penalised in your setting? does it make sense that the technology in your setting can tell the difference, or that corporations would care about the how and why? Even stepping away from medical grey areas, if your character opts for a cybernetic arm because the corporations will financially reward her, and she's struggling to put food on the table without that help, is that really optional?

Don't get me wrong, I do think that idea could work but it would take a lot of work to do well, and most works I've seen don't do the work. Even if they did though, it doesn't change the fact that most modern uses of this trope don't mention that bit or actively ignore it. It doesn't matter in most cyberpunk works I've seen if the amputation was optional or out of necessity, they still are more prone to being seen as "less human" and in most of the sci-fi writing communities I've been part of, the authors are genuinely shocked when I ask them to remember "people with cybernetics are real people already, they're not some far-off-distant future fantasy group, they're just called amputees". Like it didn't even cross their minds. These are the people creating the works in this genre. Even if it wasn't the original intention of the genre, it's still an issue in the modern version of it. Edit 2: Elaborated a little more on why I don't think the "only people who choose it" argument works in the edit. Also, please stop telling me that old cyberpunk doesn't have this issue, I literally address that in the post lol.

[hypexion]

The thing about Murders at Karlov Manor is that from a story perspective, it couldn't have been set anywhere but Ravnica. And it especially couldn't have been set on New Capenna.

The story of Murders is ultimately about the fallout of March of the Machine on both Ravnica as a city, and on Kaya personally. The motivations for the high-profile deaths that litter the set are tied directly to elements of the Phyrexian invasion. The manner of murder is specifically set up to overcome the barriers Ravnica as a setting provides to a murder mystery. And Kaya only gets involved because of her questionably defined but always present relationship with Teysa Karlov.

Ravnica also comes pre-built with a host of established characters, who conveniently all hate each other. This enabled readers to theorise about whodunnit, as each daily chapter provided more information and more intrigue. People considered all kinds of threads: Could Jace be involved? Might Azor be pulling the strings somehow? How does Judith plan to survive her crazy plan? Lazav?? By the time Proft said "I know who the killer is", you too could get it. (then for some reason they delayed the reveal chapter so they could reveal the killer in a spoiler stream. even when the story is good, the management is bad)

If you move the story out of Ravnica, the whole thing falls apart. You lose everything that makes it work. A new plane would be functional, but a lot less engaging. Fiora is about political scheming, even more so than Ravnica. And New Capenna...

New Capenna is not a particularly well constructed setting. It works as a sparse background for a Magic set, but when you start poking at it, it falls over. Like, one of the nicer ways to describe New Capenna is "discount Ravnica", because you are comparing it to one of the game's most successful settings. And that's what New Capenna is - a city controlled by a number of distinct factions, built out of specific colour combinations. But the New Capenna factions are not as good as the Ravnica ones (and the Obscura are literally just the Dimir). There is crime on New Capenna, but there is no authority against which that crime is committed, which makes things rather hollow. Ravnica, as strange as its laws are, has laws, along with people to enforce them. (note: I am aware of the Doylist reason why New Capenna has no police. Watson is still crying.)

Ravnica being well-developed allows it to function as a backdrop for a different idea. New Capenna's issues do the opposite. In fact, any return to New Capenna would need to reckon with how the setting got completely turned over by the return of the angels. You can't just say "well the crime has punishment now, onto the mystery". You have to actually engage with the big change, or you're just dragging New Capenna into a deeper hole.

conclusion: When the Magic story is good it's because the writer looked at the setting and characters they were given and used them together well. This is only possible if you have a setting and characters that can be used well. Ravnica has that, the crime plane does not.

[cripplecharacters]

Sorry to bother you,

Your blog is wonderful! Since it's one of the most dialogue/explanation oriented, i wondered if i may please come to you with a more general doubt. i'm sincerely confused... Why is "curing" disability bad per se?

So far, the arguments (on Tumblr) seem to be,

i. Consent.

ii. Generalisation. ("Everyone will want this same thing".)

iii. The undercurrent ideology holding disability as a flaw to be "cured" (including the use of the term "cure").

On which we all agree, they're implicitly bad no matter if it's disability or a haircut. Very well.

But.

What of magical healing per se is inherently bad? Because being given a choice implies that for every given person agreeing, there are going to be others who won't. So we should still write our fantastical society around them, that's not in any way in question.

But these, the possibility of magical treatment and the non-necessity of the same, are not mutually exclusive. You don't have to "take one before the other", they can very well coexist.

Last question (i promise), is seeking treatment for oneself bad?

Like, if there came up a quest to get the glittering flower blooming once a millennia guarded by the Evil Dragon of Evil and capable of magically taking away OCD and PTSD, sign me up! Or if there's a spell to resuscitate my thyroid or an alchemical pill that solves ADHD's executive dysfunction. i mean, that's kind of what my medications should do if they weren't so costly and inaccessible, and that would be a one-time thing too.

Autism's doing alright, i'd keep everything, thanks.

Disclaimer, i'm obviously not advocating for eugenetics (as this term has been often used and misused in these discussions, better to precise).

All these conditions in one way or another define me and effect my life in a pervasive, quotidian way, or/and on a more existential scale. Not always in bad ways -my life is not a tragedy, and this i wish to make clear. i'm not saying that a "magic cure" should come before a change in society to accommodate disability. What i'm advocating for is their coexistence, as a choice -not evil per se, but nocive if inserted in a context of ableism, negation of individual consent, and, indeed, choice.

Or at least that was what i was arguing for until a few months ago. Now however, seeing as the collective opinion is one of strong rejection for these ideas, i believe there must be some important fallacies in my reasoning, and i wish, before everything else, to correct them. To understand.

Sorry for the monologue, but, may you help me?

Thank you for your time and for your kindness,

Anonymous Sloth.

Thank you for your ask! The reason curing disability is bad in media is because the disabilities cured often cannot be cured in real life. People with incurable disabilities already have so little representation, taking away the characters they see themselves in with an impossible cure is incredibly disheartening. I live with multiple incurable physical conditions, and I’ve accepted that I’ll live with them for the rest of my life. Day to day I already deal with people saying how much better my life would be if I didn’t have these conditions I had no choice in getting, I don’t want to see that in my stories! If someone has my conditions I don’t want the author to get rid of them with magic, I want to see that character going on cool adventures and being badass! Sure a magical cure might be nice, but that’s never going to happen. I’m going to be living in this body for the rest of my life, and I want to see stories where people like me get to live their lives with their conditions!

Disabled people should be allowed to see themselves in sci-fi and fantasy stories! People who can’t be cured, who can only have their symptoms managed, who have to be on medication/assistive devices the rest of their lives and who don’t want to be cured should be allowed to see themselves in media without the constant reminder that most able bodied people think their lives would be so much better is they would simply stop being disabled.

Additionally, even conditions that do have cures or ways to manage them aren’t realistically portrayed. There are never any symptoms, side effects or rehabilitation, it’s always portrayed as a magical cure that completely gets rid of the disability. This rarely happens in real life, and I don’t think it’s wrong for someone who shares a condition with a character to want to see that condition accurately portrayed.

It’s perfectly fine for a disabled person in media to want to seek treatment, plenty of disabled people in the real world also have to fight to get treatment (though the fighting is usually against insurance and doctors, not dragons and wizards). But like I said above, it should be at least somewhat realistic. The world is already over saturated with stories of people getting magical cures that make everything better forever, but what about cures with long lasting or permanent side effect? What about healing that requires extensive physical therapy? Or someone who needs to take potions for the rest of their lives to manage their condition? These realities should also be portrayed. Sure maybe some people want to see an escapist fantasy where their conditions could get cured, but not everyone wants that and it’s almost entirely done by abled authors who fathom why anyone would want to see a disabled person who isn’t trying to ‘overcome’ their disability.

We’ve also reblogged this post & answered this ask that deal with similar topics if you want to check them out.

I hope this helps! Have a nice day,

Mod Rot

-

Everything Mod Rot said.

Basically, it's like giving us representation and then taking it away. Readers with that disability are going to read that book and relate to that character. Having a character like you in a work can be so important. But then the character is magically cured of an incurable condition, and now they're completely abled. Good for them. But the reader is still disabled. The reader will still always be disabled.

Disabled representation is already so rare. It's not really nice to take away what little we have.

- Mod Aaron

Echoing what everyone else has said, I want to add an extra thing:

If there was a wealth of disabled characters in media, represented with respect and nuance and care and all that, some stories involving disability being cured wouldn’t feel out of place, because there would already be so much to see that it would be an interesting departure and not posed as the only option for a happy ending.

And if you’re writing something about curing a disability that you have because that’s your experience and it’s what you want, that would make sense as well.

But since so many representations of disability in media have the underlying message that the only way to truly be happy or worthy or whatever with a disability is to have it cured, to have the least amount of signs of disabilities ever, then adding more of the same to that can be not just frustrating but harmful.

An “overcoming” of disability, a “making invisible” of a visible disability, or a cure for a disability are not the only stories worth telling about disabled people—because they are also not the only lives worth living for disabled people.

— mod sparrow

[readychilledwine]

Monster Fucking

✨️Kink Education with Elizabeth✨️

First things first, we do not yuck someone else's yum on this blog. If you are not interested in this, please scroll or check out "A Hint of Corruption" if you are in need of some Tamlin smut.

Monster fucking, or Teratophilia, is the sexual attraction to monsters, aliens, ect. In a lot of cases, the monsters are sentient beings, but not always. Monster fucking is a little controversial in the kink community with some arguing that it is a paraphilia instead of a kink and vice versa.

It has become popular in the past few years for a few reasons, but the biggest is linked to escapism and fantasy role play. Our dearest Tumblr is actually attributed to the increased interest in monster erotica as well. Most monster fucking fics tend to center around a female main with a male presenting monster, or non gender confirming monsters using tentacles. Monsters sometimes are human looking (looking at the fae with a side eye,) or there's some people who are straight up into dragons.

Teratophilia has actually become so popular in kink/taboo sex culture that it isn't uncommon to find websites selling sex toys based on monsters, the most popular being Bad Dragon. You can also find authors and artists who only write monster fucking fics such as Charlotte Swan.

Again, we do not yuck someone else's yum here. Please scroll on if you are not interested in today Bingo spot. We have a whole month of smut, I promise there will be something else for you 💚

Also a general PSA... If you are "grossed out" by this and using the excuse of it being monsterfucking, but you enjoy wingplay fics involving the batboys, Omegeverse fics, tentacle fics, Ithan shifting or Therion shifting smut fics. Your issue may not be monster fucking. It might actually be who the monster in this fic is. I said what I said. 👉👈

💕 Peep the Valentines Day list here💕

And, as always, NSFW below the cut

Tamlin x Rhysand's sister Reader

Warnings - wing play, p in v, beast form Tamlin, oral (female receiving), borders on definement/corruption kink territory

A/N - we all know I enjoy the Tamlin x Rhysand's sister or Rhysand x Tamlin's Sister thing. So I wanted to give you all both for this.

You flinched as your back hit the ground, a massive paw almost crushing your chest as claws spanned both sides of your neck.

“Tam,” you hated how afraid you sounded. Years ago, there was an ounce of fear in your body for him. “Tamlin, please. I was just sent to check in.”

Green eyes met yours as he growled. He hardly seemed fae anymore.

A beast more than a make, Rhys had warned you.

You should have listened to your brother better.

“Tamlin,” you whispered again. Your hands went to his muzzle. “Tam, please. It's me.”

His growl was almost a mix of a purr. You watched as he shuttered, shifting before you, but still held you down in his fae form.

“Sending you is low,” Tamlin growled, hand tightening around your neck. “Even for your piece of shit brother.”

You knew better than to argue with him regarding his feelings on Rhysand. Just like you knew better than to argue with Rhys about Tamlin.

You stared up at him, eyes watering in fear as his grip didn't soften. You had known the day the bond snapped between you and Tamlin that he would be the death of you, and if it was at his hands you died, that was a peace you could live with.

Your hand moved from his to up his arm, down his chest, then rested on top of his heart. Feeling it beating there, no longer a mess of stone and curses. It matched your own. Echoing through your head day and night. “If I am to die at your hands right now, just know I still love you.”

Tamlin buried his head into your neck, wrapping you in his scent like a comforting blanket. “Question, my dearest Y/n.” You ran your hands to his shoulders, holding him tight against you. You nodded for him to ask. “Why is it that whenever I tackle you in my beast form, you become aroused?”

You froze instantly looking at the sky to think of a good lie. You couldn't find one. Choosing to instead look Tamlin in the eyes and utter a sentence you had only ever admitted to yourself. “I've just always wondered what it would be like to, you know..”

Tamlin smirked at you. “I am afraid I don't know, moon flower. Care to explain?” Flush began to cover your sunkissed cheeks as you looked away from him. “Y/n, do you want me to fuck you as my beast?”

Hearing the question out loud had heat pooling between your legs, a coil tightening already as you laid below him.

It was taboo.

It was dirty.

It was something you'd never even be able to speak of to anyone.

But, Mother, the idea of Tamlin locking you in place with his claws as he fucked you from behind had you melting. “Yes,” it was a breathless confession. He growled above you, quickly forcing you to kiss him.

There were no emotions on the kiss from his end besides raw need. It was a mess of teeth and spit mixing all together.

Tamlin didn't waste a second. He shifted his hands to claws, the sharp rip of fabric echoing through the air as the torn shreds of your dress were thrown aside.

He began to kiss down your body, an occasion poke of what you assumed was a fang scraping the tender flesh of your breasts and stomach.

It was then that the male was gone, replaced by fur and horns and lowering his now massive body to the ground as a cold wet nose ran along your core.

“Mother fuck!” Your back arched as the cold against your heat had you in a pleasurable state of shock.

Tamlin began lapping at your core, a large paw coming across your hips to hold you down as you began wiggling away from the intensity of it. You wanted this, he projected into your mind. Stay still or I'll stop.

You whined begging him to continue by settling down. One of your hands went to his ear, scratching softly at it and tugging the fur there every so often. You gasped pulling hard as he pushed his tongue into you, stretching your walls. His nose nuzzled your clit at the same time leaving to breathless. He slowly began fucking you like that, tasting you completely. You couldn't think of anything but Tamlin. Of the years wasted pretending to hate each other. Of years you two were forced to ignore each other for Rhysand's comfort.

He'd kill you if he ever found out you had literally sullied yourself with a beast.

Regardless of that beast being your mate in a shifted.

Your hand began to lazily scratch his ear again as he brought you wave after Wave of pleasure, mind going numb to anything but that as you focused. He began to purr, tongue vibrating inside of you from the noise. You cried out, back arching again. He chuckled into your mind, increasing his speed, pushing further in with that inhuman tongue. “Tam,” you panted out. “Gods, please don't stop. Please. So fucking close.” You were walking that edge, the coiling so tight inside of you that you feared It wouldn't be a gentle slip from the peak, but a shove face first into the wind.

You felt your magic dropping, wings appearing on your back and splayed below you just twitching in anticipation. You don't know how, but he managed to curl his tongue, hitting a spot so deep inside of you that you would have never found it after centuries of self exploration. The scream that tore through you had the trees shaking, a storm crackling with lightning in the distance. His name was all you could remember as you sang for him, prayed to him.

You hardly had a chance to process what had happened when he forced you on your stomach and for your back to arch for him. A paw landed on the top of your back, holding you down and forcing your wings wide for him. His tongue ran the hard ridge of your left one, causing a full body shudder to go through you and your eyes to roll back. He repeated the motion on the right side, growling as he did.

You could have came from that alone.

Had the sudden brush of a cock much too large for your body interrupted ever thought of pleasure you had. Relax, he cooed to you. Be a good girl and relax.

Vines came and trapped your wrists above you, then your calves to your thighs, pulling them wider apart.

You were completely helpless to him. Spread open and bare, cunt glistening in the light. Tamlin growled, rubbing himself against you again, rutting over and over to soak in himself in your juices.

The slow realization of what you got yourself into fell into your mind and you did the best you could to obey and relax as the head lined up with your entrance. Breathe, he commanded, pushing in as you did.

It knocked all the air from your body, a pained whimper becoming all you could do to communicate. He began licking your wings again, watching as the pain and pleasure mixed through your body. He switched to licking the soft membrane, male pride swelling as you pushed back against him moaning his name and fucking yourself on to him.

Each little movement of your body had him sinking deeper and deeper. He knew there was no way in hell you would be able to take all of him, but Mother watching you subconsciously try, watching you whimper and writhe below him had all instinct falling to his beast.

He began thrusting in time with your movements, tongue still dancing on your wings in a practiced motion. Licking them like it had not been years since he'd gotten to lay with you in his other form.

He knew your body like the back of his hand still, and the fae part of him kept reminding himself of that.

This wasn't some random female from the Rite below him.

This was his mate.

Regardless of how he wanted to push further in, to fuck you like a bitch in heat, he couldn't.

The pace he had set was magic for you as your body still stretched for him. The burn had subsided enough that pleasure was shooting from ever nerve, begging for more and more.

You were going to finish to fast, but the slick constantly building and increasing had him deeper and deeper, inching you closer and closer to the Base of him.

You felt like you could no longer breathe. All the room in your body had been replaced with Tamlin and Tamlin only.

A miss timing from both of you had you screaming again, whining as pain mixed with absolute bliss all while shock hit you from his side of the bond.

You had managed to fuck yourself down to his knot, and now there was no saving you from the monster every fae had lurking in their skin.

He began slamming into you at a brutal pace, watching as you became a mess panting his name. He couldn't help but to growl, mouth forgetting about your wings and going to the pulse point of your neck.

It smelled so distinctly you. Vanilla musk and orchids mixed with sex and lust.

He felt your walls twitching around him over and over, listened as your cries became more desperate Until you were begging, pleading for release.

He was right on the edge as well, the fae side of him stroking the bond to let you know.

That Single wave of his pleasure, of his pride, of his need set you over, walls squeezing him so tightly he thought you would break. You sent him everything back, letting him feel the electricity shooting through you, and he came soon after.

It felt like wave after wave of cum was emptied into you, filling you much too full until he pulled out and some was allowed to leak from your aching core.

The vines slipped away, allowing you to fall. A soft hand replaced that paw, warm lips caressing the shell of your ear as praise after praise spilled from them. “Did so good baby, so fucking good. You looked so beautiful like that.”

Tamlin fell beside you, snapping clothes onto Both of you, a scent shield going up as a sound shield fell. “Your brother is here to collect you.”

You didn't remember anything after that. Mind falling to darkness as a wave of Tamlin's magic put you to sleep.

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[ohmycale]

I read your argument post and I read the same opinions online. I would like to ask if you considered that Deruth might have hestitant to communucate his feelings because he mught lose his relationship with Cale. I agree with the opinions that communication is important but shouldnt Cale also communicate his father?

Also, you cant deny that Cale wasnt the best person in his version in the story. He was called a trash for a reason.

I also feel that you keep Violan, Basen and Lily out? Do you not consider them as Cale's family? Why or why not?

Anyway, interested on what you think

My take on this:

Deruth is the adult. Cale is the child. It doesnt matter how many times have passed. That is their relationship and their dynamic. It is the duty of the adult/parent to care for the child and assume all the heavy lifting in the relationship until Cale himself is an adult. The main reason is that in the end, it is the adult/Deruth who brought Cale into this world and is tasked to guide said Cale - not the other way around. And Deruth's problems or flaws will affect Cale no matter what. I also like to highlight that almost all power and authority resides in Deruth as a parent and adult in all ways - good or bad.

ETA: There is a line in Sekiro by the last boss - Hesitation is defeat. It's fine to hesitate - as long there is also an acceptance of the risk with the choice. In this case, the growing gap and distance between the two, the continuation of resentment or other negative feelings Cale has for the relationship. While distant is not yet formed as full rejection here, constant isolation and uneasiness in the relationship are good ingredients to maybe a permanent no contact with each other in the future. TLDR - Hesitate at your own risk.

re:Cale communicaitng. Sure, Cale can talk. The issue is - is he comfortable enough with his relationship with Deruth to actually communicate his true feelings? Deruth distanced himself and Cale would have definately felt that. Deruth was given a wide berth due to his grief and his remarriage - assuming it helped him cope in his roles. But his relationship with Cale never did recover pre-Jour's death because rifts and gaps formed during the distance. So, if there are already gaps and issues, do you think Cale would be comfortable bringing his concerns without being accused of destroying/delaying Deruth's happiness? If this is the case, shouldnt be the parent/adult be the one who gives reassurance, love and all those things that help them reconcile and their relationship grow? Or is it another burden for the child who has to hide his own authentic self because he already experienced being isolated and hurt from the person who is supposed to give him unconditional love?

2nd question - He wouldnt need to be a trash if his own father protected his new family over the status he inherited.

For the third question - Violan and her children are his stepfamily. Deruth chose them for himself - not for Cale. Stepfamily dynamics are complex and way more complicated vs bio/nuclear family. There are many issues but I would say that Cale cared for them because his father brought them in Cale's life. One argument (reflected in real life) is since they made Deruth happy, Cale should be happy that his father is happy because of them. In a morbid sense, it can implied that post-Jour, Cale wasnt able to give his father happiness or him being enough for Deruth to move on from grief (not that he is supposed to in the first place). In way, Cale deserves them than his father but his link to them is very weak. The Henituse is a classic high-functioning dysfunctional blended family.

I know many people hate the prefix of 'step' and 'half' - but in the 10yrs that this family has been doing, there has been no evidence they came together or act as one unit. It's always Cale or Deruth + Violan (& OFC Basen and Lily). Violan will side by her husband and take Deruth's lead (wrongly or rightly) because she did marry him (you dont marry children, I cant fathom why she did marry this man but I digress) and Basen and Lily would side with their parents. So, I dont think they are a family - they are people who live in the same place and trying to get along like roommates. Besides, it seems that Deruth + Cale isnt considered as a family in its own right.

Hope this satisfies your interest and ask away again if I left out something...

[wilcze-kudly]

I have a question what do you like of final of the Legend of Korra and What do you not like it ? ( S4)

Ah, B4. My favourite season and the season I hate the most at the same time. I have such mixed feelings about it and I think most of it stems from the utilisation of Nazi and Soviet imagery and inspirations in the Earth Empire.

Because it disrupts any sympathy, I could have towards the good Kuvira had done for the Earth Kingdom because of the IRL historical context behind those same pros in the regimes Kuvira was based on.

Technological advancements and modernisation? Made possible by essentially slave labour of the people of the country, particularly the prisoners of gulags, who were in huge part political prisoners (known as biełoruczki, if I remember correctly). I use the term 'political' very loosely because because many of the 'crimes' were just... really stupid. For example having rented a French book from a library.

Kuvira's attack on Republic City is also heavily recontextualised due to this context. Because, in a void, a woman of a county that has been heavily affected by a war trying to regain a former colonised region of her country that hadn't been returned after the end of the war is not a terribly immoral thing. You could even describe it as justified.

But with the context of Kuvira's inspirations it takes on a darker meaning as one of the Soviet and Nazi excuses for invading Poland in 1939. In the words of Timothy Snyder, historian and author:

Hitler saw Poland as the ‘unreal creation’ of the Treaty of Versailles, Molotov as its ‘ugly offspring.

Furthermore, even post-Soviet Russia has a similar pattern of dismissing the legitimacy countries that fall victim to their campaigns. For example, Putin justifying the current genocide and war crimes in Ukraine by claiming Ukraine to be historically Russian lands and that Ukrainians and Russians are 'one Nation'. I have spoken at length on Kuvira's parallels to Putin and length, I believe.

Connecting Kuvira's claim on Repubmic City to these ideologies is counterproductive to any sympathy I could have to her goals. Because, in a void, decolonisation. With the influences assigned to her, it's rather giving 'imperial nostalgia'.

And I know that you could easily make the argument that we should look at the Earth Empire as it's own thing, that it isn't defined by its historical infulences. But I do believe it does. Kuvira's inspirations are glaring, obvious and hard to ignore. Especially the Nazi ones.

Kuvira's Soviet inspirations, which in my opinion, are a far bigger part of the show, are, however, more insidious. Mainly because a Western Audience isn't primed to see the danger and sordid history in the ideologies she presents here.

Because a lot of younger First World citizens seem to have this weird hard on for Soviet Russia, ignoring that it was just as horrific as the 3rd Reich.

Now, I actually really liked Kuvira as an antagonist in the first half of the season. I'd even classify her as my favourite main villain (my fave antagoinst in general being Aiwei's gayass).

I really enjoyed the mix of Nazi and Soviet inspirations behind her character, because while these ideologies may seem different at first, they aren't actually that dissimilar, even being referred to as 'Totalitarian Twins'.

Which is why I mildly push back against people claiming that Kuvira represented simply fascism. I believe Kuvira could've been an almost perfect 'human' commentary on totalitarianism.

I belive that Kuvira is an amalgamation of multiple totalitarian dictators, not just Stalin and Hitler, combining their common traits and behaviours.

We are very quickly shown how charismatic Kuvira is and how she is skilled at social engineering by, for example manipulating Bolin and Korra, as well as strategically putting on displays of power and strength to intimidate opponents and endear allies.

Showmanship is a huge part of a lot of totalitarian dictatorships, particularly as many of them rely on cult of personality, which certainly rings true for the Earth Empire.

We're also quickly shown how fond Kuvira is of ultimatums and total control. This 'all or nothing' mentality is a common theme in totalitarian countries. You're either with the ruling part 100%, or you're an enemy of the state. See my above description of political prisoners in gułags. Kuvira's weaponisation of the context of historical necessity is also a trademark of Soviet regime.

Kuvira's characteristation as manipulative, intimidating and calculating behind her more charismatic and virtuous veneer is a perfect mirror into how irl totalitarian regimes often hide behind friendly faces and utilise sound ideologies to obscure their true insidious intents.

And then the show ruins this excellent villain with a poorly executed sympathy scene and later a shitty redemption arc.

That's not to say I'm fully opposed to Kuvira having a sob backstory and being marginally sympathetic. But I would rather this be used to show off how totalitarianism is inherently a self destructive system. Leaning into Kuvira being an insecure, compensating control freak rather than presenting her as a misguided heroine who lost her way would be a much better use of her character imo.

I liked seeing her cry like a little bitch tho that was cathartic and also sexy.

But you know who actually deserved the sympathy and empathy we were encouraged to give Kuvira? The Beifong family, especially the Zaofu crew! And if you follow me you've probably heard me ramble about this already but they really were the only real ones that season.

They were the literal only ones actively warning everyone about Kuvira and seeing through her bullshit. And it's no surprise, since they know Kuvira. Sure, their grudge against her probably influenced their opinions, but the comics show that there were symptoms of the person Kuvira would eventually become even as a child, like in her anger issues and her destroying Opal's dollhouse as punishment for Opal setting a very rational boundary.

I truly think the Beifong family deserved more screentime and we desrved to hear more out of all of them. As for example, Huan could easily illustrate the irl censorship and control totalitarian governments. Like, there's a reason Polish writer and painter Stanisław Witkiewicz overdosed and slit his wrists after hearing about the Soviets. One of his books also practically predicted the totalitarian control of Nazis and Soviets on Polish art and self expression. But the talk of Huan's wasted potential can wait for another time.

I also liked Wei calling Kuvira out after she was describing herself as a peaceful negotiator by going: You call bringing an army to threaten our city peaceful? After which the conversation was immediately redirected because really Kuvira couldn't maintain her flimsy moral ambiguity if the was answered.

This was his only line in the season and he ATE.

I frankly didn't care much for Toph's inclusion in the season? It felt rather contrived and existing purely for the viewers to get excited and recreate the Leonardo DiCaprio pointing at screen meme. This is the same feeling I had about Zuko in B3. Katara is the only cool Gaang octogenarian to me.

I didn't really have an opinion on Lin thsi season. She's.... there? I thought it was sweet that she went to rescue Suyin and that she seemed to have fixed her relationship with her to some extent. But honestly after 4 books her combative nature was overstaying its welcome. Being mean to traumatised teenagers as a middle aged cop is only funny the first few times.

I guess I enjoyed the relationship drama between Toph and Lin and it was nice to see them begin to reconcile. Though, once again it feels repetitive, like a mommy issues reskin of Lin and Suyin's conflict in B3.

Speaking of estranged Beifongs, I particularly liked Baatar Jr's storyline and think he would've made for a much better antag to sympathise with than Kuvira. I like the implications of his inferiority complex and his redeeming moments of trying to stop the spirit canon when Opal was in range of getting hit and the implication that he loved Kuvira much more than he did for the Earth Empire. It's not much, and he's certainly not a good person, but he had more grounds for a redemption than Kuvira.

And I loved Opal's storyline of opposing Kuvira so staunchly and being positioned as Kuvira's primary detractor. I love seeing how Opal had evolved between B3 and B4. How she's visibly more confident and sure in herself and willing to stand up for not only herself but those in need. Her hair growing messy after B3 is also so important to me and wonderful visual storytelling.

I do, however, have a few gripes with the treatment of her character, particularly the minimisation of her concern around Kuvira. Like the rest of the Beifongs, Opal is presented as irrational in her hostility towards Kuvira, which isn't the case at all. She is berated by established characters like Jinora and Korra for her stance, especially after the attempt on Kuvira's life. Actually, I think that: well Su and the twins were the aggressors in this situation, after Kuvira actively threatened military action on your peaceful city could constitute for gaslighting.

Even after Kuvira is proven multiple times to be dangerous and a threat, Opal's despaur over having her family captured and home conquered is treated as inconsequential grumpiness and is pushed aside in order to make room for the plot. Hell, Opal even tags along with Korra and Jinora to help investigate the Spirit Wilds.

(Opal is a better woman than me if someone pulled that shit on me I'd like. Not talk to them for at least a month.)

...And the second half of the season where she gets booted back into the love interest zone is fucking painful. The moment Bolin arrives in Republic City, Opal's very valid frustration and anger is reduced to a lovers' spat and focus is redirected to Bolin "winning her back". And after all is well in obligatory comphet world, I don't think Opal even speaks. It's like after she forgave Bolin and their relationship returned to status quo, she immediately just became an NPC.

Despite my hatred for how Bolin impacts Opal's storyline, I actually adored Bolin's being part of Kuvira's army, and how that was handled.

I liked seeing the continuation of Bolin being easily manipulated by those he looks up to due to his childhood. I liked the portrayal of Bolin's good intentions being used by Kuvira, since it once again parallels the irl inspirations behind Earth Empire .A huge chunk of the Soviets' detractors were actually disillusioned communists, who had joined and given their support, only to be betrayed by the system that they hoped would bring about a positive change.

Sadly, after Bolin deserted from Kuvira, this excellent set up isn't followed up on properly. Instead of any teaching moment or character development, we get Bolin moping for an episode, a few apologies and essentially a fetch quest. And after that, Bolin's honour is restored and he essentially goes back to how he was before B4. Which is dissapointing as hell.

I really enjoyed Korra's recovery arc, it wa svery moving but not to the point of making me too uncomfortable. However, I don't like the notion that she had to suffer to learn compassion and 'become a better person', which is the implication. Because that's an extremely harmful idea and just false. Seeing Korra be constantly beaten down and hurt in the name of "learning compassion" or some bullshit is honestly unsettling.

I also think that Korra's personal arc was ill placed and messed with the main storyline. I think that showcasing Korra's new "compassionate" worldview on Kuvira is the main reason behind the downfall of Kuvira as a character for me. Trying to justify Kuvira's abhorrent actions in service of Korra's personal development is... a bit problematic to say the least

I actually despised Republic City being in the focus of this season. Like, so much is probably going on in the Earth Kingdom but we have to be stuck outside of the Iron Curtain. And meanwhile we have to sit through contrived plots in New York City but make it Oriental. It kinda reeks of USA self-centeredness. And it makes our main characters seem kinda like assholes because they're people with infuence and yet they're just chilling while people die in Concentration Camps so um.

I think the reason I hate B4 is because it's I also love it so much. I love it for the groundwork it set and for what it could've been. It could've been brilliant, but it ended up convoluting its messages and playing into harmful tropes, probably unintentionally.

The worst part of B4 is how good it started off. The begining was excellent and the second half drove it into the ground for me.

....and of course the best thing to come out of B4 was ✨️the weilin face pat✨️. Absolutely iconic scene, best ship in the show, hands down. Though I love that every single Krew Member was given a queer love interest.

Slay. A gaggle of wild bisexuals.

[linkspooky]

Sukuna's Anti-Enlightenment

Sukuna's words in this chapter practically mirror Mahito's words to Junpei from much earlier in the series.

"Do you understand? Life has no weight or particular value. Just like how water flows through the earth, life simply flows. For you, me and everyone else - it's the same. Without meaning. Without value. That's why you can do whatever you want. Live the way you want. Don't limit yourself to just being indifferent. There's no reason to live by such a restricting philosophy. If you're hungry, eat. If you hate, kill."

Both of these characters are rejecting humanity's natural instinct to look for a purpose in life and are instead subscribing to a more animalistic way of living following their basic instincts, if you're hungry eat, if you hate, kill. While the philosophy sounds simple enough there's something much more complex going on under the surface that requires digging deeper into Sukuna's mindset.

A True Curse

By having Sukuna essentially quote Mahito, the story is inviting us to compare them. A literary foil is a character whose purpose is to accentuate or draw attention to the qualities of another character. This term comes from an old technique of placing a thin metal sheet, or foil, behind a gem to make it shine. Sukuna is a character defined by how little both the other characters in story, and the audience understand him, something Yorozu comments on he's simply too powerful and isolated to be understood by the rest of humanity and so he stands alone. Which is why giving him a foil is a way to help the audience understand Sukuna without the author tipping their hand and ruining Sukuna's mystique. The question is what does Mahito highlight about Sukuna, and my answer is Sukuna is what Mahito wishes to be.... a True Curse.

Mahito is many things, but without making this entire meta about Mahito his primary goal along with the rest of the special class curses is to eradicate humanity and replace them as the true humans. They basically want to destroy what humans have created and create a world of curses in their place.

Mahito is the most human like of the curse family, he reads human books watches human movies, even spends time getting to know a few humans personally and he also rejects them the strongest because he is made up of the human fear of other humans. Mahito is the one who reflects humans the most because all the other curses are made up on natural disasters, and yet he wants to destroy everything that's human inside of him and embody a true curse instead.

Which he does in the final phase of his fight against Yuji by literally ripping off his own skin like it's a chrysallis so he can emerge in a more curse-like form. Mahito is like the frankenstein's monster of the human id, he is created by the absolute worst impulses of humanit yand therefore rejects humans implicitly.

He even argues with his fellow curses that they shouldn't act too much like humans. Whend Choso, Jogo and Mahito disagree about whether or not they should revive Sukuna, Mahito argues they've been following Kenjaku's strategy too closely and they should make a game out of it and follow their whims or desires like a curse would isntead of using strategy like Kenjaku.

Mahito's idea of a curse is a creature of the natural world that lives entirely true to its own desires and hunger, satiating it without thinking about the effects their actions have on other people. A lion doesn't stop to ponder whether or not the gazelles its grazing on have feelings. A curse rejects the human need to fight purpose in life, or find deeper meaning or reasons behind their actions and only follow their instincts.

Mahito doesn't just not think about the meaning of life, he actively rejects there being any other meaning besides living to satiate one's needs. Remember Mahito and Sukuna both laugh together at Yuji, and Yuji identifies them as true curses as well.

A scene which is called back to later on in the series shortly after Sukuna takes over Megumi's body.

In a series where even characters like Gojo and Kashimo who view other people as not human in the same way they are will have an aching loneliness and a desire to connect to others, Sukuna and Mahito both seem completely devoid of any humanity whatsoever.

Mahito however, is a baby and a newly formed curse while Sukuna is an adult that's existed for 1,000 years as the pinnacle of Jujutsu. Mahito is essentially the larval form of Sukuna in the story. Quite literally in fact, because he emerged from the chrysallis by ripping his skin off to reveal his true curse form in his final bout with Yuji. Sukuna is what Mahito wants to be when he grows up. Mahito talks the talk, but Sukuna is actually able to walk the walk.

It's a bit like how Gojo, Naoya, and Toji all sort of believe that power makes it so they exist in a different category of people, however Gojo and Toji have the ability to back that belief up with power whereas Naoya just gets his butt kicked a lot. Naoya even crosses the boundary line between human and curse in an attempt to reach the same level that Gojo and Toji were at.

There's a pattern in the series of characters pushing themselves further and further away from humanity becoming curses and rejecting human values of meaning alongside of it. Going from higher thinking like empathy, philosophy, the search for meaning to lower, more animalistic and instinct heavy thinking. Naoya even says that becoming a curse reminds him of his childhood again like he's completely regressed intellectually.

Naoya: This sort of takes me back. There are things that children can't do that are easy for adults. After you grow up, you can't even remember the time you couldn't do it. Well, this is like that.

Jogo also defines a curse as someone who's true to their feelings, unlike humans who hide behind lies and pretend to be something they're not. All of this to say I don't think Mahito and Sukuna's views are nihilistic per se. Nihilism is rejecting that there is inherent meaning to anything in life yes, but in order to reject meaning you have to question it first. Mahito and Sukuna seem to be rejecting philosophy itself, an anti-philosophy philosophy so to speak. Nietzsche considered animals to be un-historic, because they only existed in the presence and have no history. They are, themselves at every instant because they only know of the now.

“Consider the cattle, grazing as they pass you by. They do not know what is meant by yesterday or today, they leap about, eat, rest, digest, leap about again, and so from morn till night and from day to day, fettered to the moment and its pleasure or displeasure, and thus neither melancholy nor bored. [...] A human being may well ask an animal: 'Why do you not speak to me of your happiness but only stand and gaze at me?' The animal would like to answer, and say, 'The reason is I always forget what I was going to say' - but then he forgot this answer too, and stayed silent.”

Cows aren't nihilistic, they're not anything because they just exist. They just exist as individuals in an eternal moment. They just exist.

Mahito: "Emotions come from the soul. It's too simplistic to call it "heart". People overthink things they can't see. I can see the soul so for me it's nothing special. It's practically the same as the human body. It just exists."

Mahito similiarly says that the soul just exists, there's no need to overthink the meaning of it or try to classify the soul as a "heart" capable of feeling emotions because it's just there. Sukuna similiarly doesn't worry about the past or the present, all humans are just momentary distractions to him and he only lives in pursuit of finding his next meal.

They just eat to satisfy their hunger temporarily, not because they find the food delicious or for any other reason. They're just living in pursuit of their next meal. It reminds me of a passage from my favorite existentialist book series Zaregoto.

"They say food, sleep and sex are the three basic desires of makind. But why are we eating this meal right now?" "To ingest vitamins." "Yes. Without vitamins, people die. And thus eating food brings pleasure. Sleeping feels good too, and sex, well, that's obvious. Anything that you hvae to do to stay alive always comes with pleasure." [...] "Now let's imagine someone who's obsessed with eating. In other words someone who eats not simply to take in vitamins, but because he's mad for the sensation of eating itself; for the beauty in the very act. The stimulation of his taste buds. The pleasure of feeling the food pass through his mouth. The joy of mastication. The ecstasy of feeling that mushed-up gook flowing down his throat. The feeling of fullness nearly destroying his satiety center altogether. The euphoia taking over his brain. To a guy like that, vitamins or lacktherof are totally irrelevant. The means and end have switched places for him, so now his main goal is something subsidiary. Now there's your problem. Can you still say this is eating? No, don't answer. You and I both know the only possible answer is no. WHat this guy is doing isn't eat. He's just eating the concept of eating."

Sukuna isn't even eating at this point, he's eating the concept of eating. He's eating because the pleasurable sensation of eating distracts him for a little while, and because looking for his next meal gives him something to do while he's killing time before he dies.

2. Anti-Philosophy Philosophy

They're not even saying that life is meaningless, because that's a conclusion you come to after questioning the meaning of life. They reject the questioning of meaning itself, the attempt to understand either life or other people. They're living entirely like lions prowling the sarangetti for their next meal.

"I've never needed anyone to satisfy me. I eat when I wanna eat, play with what amuses me, and kill whoever's in my way. I live as befits my nature. If no one can grasp that, it's their problem."

Mahito rejects the heart, Sukuna rejects love, both of these things are more complicated human desires than just eat until your stomach is full and kill or be killed.

Sukuna and Gojo both say "Tenjou, Tenge Yuigadoksun - above heaven, under heaven, I alone am worthy of honor" but only Sukuna goes on further to say "all that exists is my pleasure and displeasure". Even Gojo wants to be understood by others even if he thinks that normal people can't understand him and he exists as a different species from them, but Sukuna himself even rejects the fact people might understand him. They do, or they don't, it doesn't matter to him because he only needs to udnerstand himself. Sukuna's practically lapsing into solopism here.

Solopism is the philosophical lens that only one's mind is sure to exist. Knowledge outside of one's own mind is unsure, the external worlds and other minds cannot be known and might not exist outside the mind.

Solopism builds on the failure of Descartes maxim "I think; therefore I exist" which fails to provide any real details about the nature of the "I" that has proven to exist. Solipism asserts the only thing certain is the "I" - one's most certain knowledge is one's own mind, my thoughts, my experiences, my emotions. There is no link between the occurence of a certain conscious experience or mentals tates and the "possession" or behavioral dispoistions of a "body" of a particular kind. The experience of a given personality is private and only understood by that person. The solipistic view of Sukuna is that his experience in the present, what he's feeling, is the only thing that matters and everything else may as well not exist.

I'd only say it has things in common with solipism though, because even Solipism questions reality which Sukuna doesn't question anything. Suuna doesn't feel the need to question things or grow because in his mind his understanding of himself is perfect and complete which is why he doesn't need anyone else's comprehension of him.

In freudian psychoanalytic theory you could align Sukuna's behavior to the ID (I Desire). Jung and Freud both believe in a divded consciousness, but Freud divides it into three, the id, the ego and the superego. The id is the insintcts, superego is the higher thinking like morality, and the ego is the mediator between the two. The id is the most primitive and instinctual part of the mind. For example a child is said to be all id, because they don't understand rules or other people's feelings they only want to fill their basic needs. Mahito would be the childlike aspect of the id, because he is a newborn fledgling cursed spirit.

The id also follows the pleasure principle, which Sukuna's philosophy also follows "all that exists is my pelasure and displeasure." Freud argues the pleasure principal is an ingained survival instinct "what decides the purpose of life is simply the programme of the pleasure principle". The Id is made up of the life-sustaining activities such as eating and sex, and it makes these things pleasurable so we will pursue them. However, there's also a counterpart to the pleasure principle in the human psyche that is the reality prinicple, which is the human capacity of defer gratification of a desire when a situation doesn't allow you to have immediately what you want. The id is ruled by the pleasure principle, and immediately wants all of its desires granted at the cost of everything else, but mature human egos are able to delay instant gratification for a higher objective.

Sukuna basically lives by the rule of the pleasure principle. He's shown capable of long term planning if he needs to like taking Megumi's body, so he's not incable of delaying instant gratifciation but at the same time his ruling princple seems to be seeking immediate pleasure. Sukuna is a walking appetite, he literally has a mouth on his stomach.

There's also the alchemical trinity to consider, mind, body, and soul. In this Sukuna is the body. Not only is he a body hijacker who has literally transformed Megumi's body practically into his own, but he also only lives to satiate the phyiscal needs of the body.

This is where Sukuna would differentiate himself from solipism though, because he needs to exist in a physical body. His entire quest over the course of the manga is to regain a body, he needs to eat, he needs to fight physically, he wouldn't be comfortable just existing as a brain within a jar he needs to stay in the physical world. He lives for the physical pleasures of this world.

What about the Body character?  There isn’t one in every alchemy story, but when this does appear, the markers are predictable.  Body characters are focused on their bodily needs--they are hungry, thirsty, and, in adult stories, lusty.  And they are often fearful. Think of Papageno in Mozart’s opera, the Magic Flute, who breaks his vow of temperance and starts eating and drinking on stage, lamenting his lack of female companionship.  Or Wiggins in The Little White Horse (he’s a beautiful, vain King Charles spaniel, always focused on his next meal). Or Sméagol/Gollum, who eats compulsively though his main lust is for the Ring.

Sukuna for instance wouldn't be happy living like Tengen who exists far outside of humanity simply observing others, because he has a need to interact with the world in the form of eating, or experiencing earthly pleasure.

In fact after going through several philosophies which don't quite describe Sukuna's own philosophy (because it resembles these while inherently rejecting the need for philosophy) we might come to the closest comparison for what Sukuna's desire is, which is to exist for as long as possible on the earthly plain while filling up his stomach.

Sukuna is comparable to the Celestial Demon Mara in budhist mythology, more on it in this thread. In budhist cosmology, Mara is the "personification of the forces antagonistic to enlightenment."

Devaputra-mara specifically is the deva of the sensuous realm, who tries to prevent Gautuma Budha from attaining liberation fro m the cycle of rebirth the night of his enlightenment. The existence of Mara is to defy Budha, and specifically to prevent his escape from the cycle of the world, especially the sensuous realm. He exists in opposition to the three marks of existence too.

Number one impernanence, that all existence, without exception is "transient, evanescent, inconstant". Number two Dukha "Suffering, pain, unsatisfactoriness" is inherent to life. Number three antaa "Non-self, non-soul, no-essence."

If the ultimate goal of budhism is to escape the cycle entirely and stop being reborn in the sensuous realm, Maara instead tempts people to stay in this realm. it defines impernanence by suggesting we stay in this realm forever. It defies Dukha by saying we indulge in physical pleasures in this realm, that we should seek to satisfy ourselves even if budhism argues that life is primarily unsatisfactory. Then if the ultimate goal of existence in budhism is the "non-self" to escape ego, Maara argues we should remain trapped as ourselves forever.

We even see Sukuna literally tempt a budha-like figure into remaining in this earthly realm. After all aren't we shown that Gojo achieved enlightenment at seventeen and let go of earthly emotions like the need to be angry and avenge Riko's killer because the feeling of oneness with existence was too good in that moment.

A lot of people noticed what they thought was Gojo acting out of character in the fight with him and Sukuna, by enjoying the fight and choosing his selfish desire to love jujutsu and fight as a sorcerer over his responsibiltiy to protect children. Something which Nanami says in his dying hallucination that Gojo only ever lived for the pursuit of his selfish desire for Jujutsu in the first place.

Gojo, a character that we know has a higher minded ideal that he's fighting for the next generation of sorcerers is shown losing that ideal in the fight with Sukuna, and only caring about his earthly pleasures, having a satisfying fight against a strong opponent. You could even say that was Sukuna's goal in the fight, to strip off Gojo's fish scales so to speak and reduce him back to being a normal human being. Something which he accomplished when he managed to learn to cut the space that Gojo inhabited, therefore negating the infinitity that protected him and dragging him back to this earthly realm.

"This is goodbye. You were born in an era without me and hailed as the strongest yet you turned out to be painfully ordinary..."

In a way Sukuna tempted Gojo away from enlightenment and succeeded. The linked thread goes on to say that Budha defeats Maara to save his students during his temptation, but Gojo on the other hand died and failed protecting his students specifically because he chose the earthly pleasure of seeking to have fun in a fight over the well-being of his student Megumi who's body was possessed.

He made a human being again out of an enlightened Gojo, and dragged him back to morality and the cycle of death and rebirth by making Gojo care more about his selfish desire for a fight than the principles he fought for. Sukuna trapped Gojo in the mortal realm along with him.

Sukuna's philosophy sounds like Mara's too, that rather than seeking anything better you should just distract yourself from the unhappiness of life by indulging in pleasures to stifle your misery.

I'd say Sukuna lives the same way. He doesn't consider himself weak, but he doesn't talk about life or this world like it's a fun place to be. He tells Yuji to stifle his misery. He then admits to Kamo that his purpose in life is just to eat delicious things to kill time until he dies.

"Life is just killing time until you die" sounds like a miserable kind of hedonism, since he's only distracting himself from the unpleasantness of life. Sukuna too might just be spending his life stifling his own misery by seeking endless pleasure on earth. He doesn't want to escape earth however, he wants to remain on earth for as long as possible. Kamo even pointed out the strange contradiction in his own philosophy.

Sukuna insists he doesn't need to be understood by others, that he's not alone, that fighting and eating his way through life is enough for him because he understands himself and all life is just enertaining yourself until you die anyway, but Kamo asks why if he's just satisfied with that kind of life did he go to the trouble of ripping his soul into twenty pieces and trying to regain his body 1,000 years later.

Sukuna notably avoids this question. He doesn't tell Kamo why he even bothered to divide his soul up and extend his life if he's perfectly satisfied with life as it is. We don't get the answer to why he wants to possess Megumi or is going through all this trouble.

That's where we get to the greatest snag in Sukuna's philosophy, which ironically relates back to the tug of war between the pleasure principal and the reality principal.

Sukuna's philosophy is that he's never needed anyone else "I've never needed anyone to satisfy me. I eat when I wanna eat, play with what amuses me and kill whoever's in my way. I live as befits my nature. If no one can grasp that, then that's their problem."

The big glaring flaw in Sukuna's philospohy that he's only ever needed himself is kind of like the flaw in the american "pull yourself up by your bootstraps philosophy" its that everyone including Sukuna needs other people. Sukuna isn't fighting with his own strength alone right now. He stole it from Megumi. He could have conceived of a way to beat Gojo without the Ten Shadows yes, but right now Sukuna wouldn't even be able to exist in the physical world without Megumi's body.

He is literally a parasite in a teen boy's body, using him to his own ends and yet he insists that he's the only one that exists or matters and he's always been able to accomplish everything he wanted with his own strength. Sukuna's a parasite right now, arguing that he's the greatest individual and has never needed or relied upon anyone.

The Great and Mighty Sukuna is defiling a young person's body for his own gain, the same way that Kenjaku defiles women and his own children, the same way that the elders manipulate the young in Jujutsu Kaisen to maintain their power base in Jujutsu Society. This supposedly all-powerful erson who only ever relies on himself and only needs his own ego wouldn't even be alive right now if he wasn't paraisitizing Megumi's body, yet he argues that he's completely fulfilled in himself.

A freudian perspective argues that a mature ego finds a balance between the pleasure principal (the need for instant gratification) and the reality principal (the ability to defer instant gratifiaction when the situation doesn't allow for it). Whereas a child is only ID and only cares about fulfilling their most basic needs first and foremost.

Sukuna is paradoxically presenting his views like he's a fully realized, enlightened adult the absolute peak of sorcery, the most developed and intelligent sorcerer in the world, etc. etc. yet he has the underdeveloped ego of a child because he has no grip of the reality principal. A person who doesn't interact with other people or the world, can't learn or grow from it. Which is probably why the closest character you can compare to Sukuna is Mahito, a literal child and a newborn curse. Even Mahito fails to become a true curse in the end.

Sukuna says he rejects enlightenment, and any higher philosophy in order to remain in the earthly realm forever, but one wonders if that isn't the same as the Miltonian Lucifer rejecting heaven to reign in hell.

The mind is its own place, and in itself Can make a heav’n of hell, a hell of heav’n. What matter where, if I be still the same, And what I should be, all but less than he Whom thunder hath made greater? Here at least We shall be free: th’Almighty hath not built Here for his envy, will not drive us hence: Here we may reign secure, and in my choice To reign is worth ambition, though in hell; Better to reign in hell than serve in heav’n.

The theme of Paradise Lost is that any sinner, even Lucifer, can stop at any time and seek forgiveness instead. However, Lucifer chooses not to do that. He could leave hell at any time but he chooses to stay. He’s fine in hell after all. He’s totally gotten used to the temperature by now. Everything is fine Lucifer says, while everything is on fire.

Lucifer would rather stay in a hell of his own creation because it gives him the illusion of control over his life then admit he was wrong or give up that control.

He may be king of hell however, but he's still in hell. Hell is not exactly the most pleasant place to be. King he may be, but he's trapped here the same as everyone else.

Sukuna may be the closest a character has come to being a true curse, he might have transcended humanity, the human need for love, but he still can't escape the earthly realm. In fact his entire philosophy is a mara-esque avoid enlightenment and stay in the earthly realm as long as possible. In a series where characters like Yuki and Kenjaku are trying to evolve cursed energy into something different, either by completely removing it, or by optimizing it and forcing it to take a new form Sukuna is someone who is stagnant and resisting that evolution. Why would someone who's already perfect need to evolve in any way?

That might just be Sukuna's downfall in a way. By rejecting other people, by rejecting the human need to seek meaning in life, he may have made himself completely stagnant. After all if Sukuna already accepts everything about himself, if he is a fully realized individual then why would he need to change?

He can steal techniques and knowledge from others of course, but that's what he always has done. The real question is how would Sukuna who's the perfect sorcerer, who's never been anything other than a sorcerer and lives to be one, exist in a world where the definition of what a sorcerer even is will probably change by theend of the manga?

So Sukuna may ask "What can a little boy hope to accomplish here?" but a child like Yuji is capable of the one thing that Sukuna isn't, growing and changing into something better.