#say what you will about redemption

[ghostlyarchaeologist]

"If oil happens, we wouldn't be so reliant on on foreign despots for our energy needs."

Leverage Redemption S01E15 The Muddy Waters Job.

[zae-heeyyy]

Seraphic

Summary: You are Arthur's angel. Pairing: Arthur Morgan x female!reader Word count: 2,222 Tags: smut, high honor Arthur Warnings: 18+ MDNI

a/n: Whew 😅 I'm a little nervous to post this one. 🫣 Been sitting on it for a while (no pun intended) I've read and reread it a million times, and I'm ready to share. Also, we're pretending like Arthur's tent actually closes. Anyway thanks for reading!

Seraphic: something angelic or celestial in nature, often suggesting purity, beauty, or holiness.

By 1 a.m., the sounds of camp had reduced to the songs of crickets and the crackle of the fire. While everybody else slept, you waited up for Arthur, reading a book under lantern light in his tent. He arrived eventually, keeping his greeting short and joining you on his cot with slouched shoulders, seemingly exhausted. When he took his hat off, the grimace on his face became all the more apparent. His expression and tense body language told you all you needed to know; whatever happened out there wasn't good.

You handed him a match and a cigarette from his nightstand, and he thanked you with a nod. Using the heel of his boot, he struck the match and lit the cigarette, holding it with his thumb and index fingers. Flickering lantern light and the burning ember tip illuminated his bruised knuckles.

"Should I ask?" You traced a gentle finger over the bruises, and he shook his head.

"Best not," he replied, exhaling a ribbon of smoke.

"Well, I'm glad you're still in one piece," you said, looking him over. His shirt had seen cleaner, less wrinkled days, and sweat plastered his hair to his forehead. "Well, mostly in one piece."

He let out a gust of air, a failed attempt at a laugh, before pinching the bridge of his nose and groaning.

"Headache?" you asked, and he confirmed. The discomfort came with the life he lived. Loud gunfire, the rush of adrenaline, and focusing on his shots all combined to leave him in pain afterward. You exited the tent momentarily and returned with a bowl of warm water, a cloth, and a bottle of miracle tonic.

"Here—for your head." He took the medicine and snuffed his cigarette. Rejoining him, you sat on the cot and dabbed his face with the wet cloth, wiping away dirt and sweat. A soft kiss on his temple prompted him to lean into you, the tension finally dissipating. You wrapped your arms around his big frame and held him close. Obviously, he was your safe space, but oh—were you his. Eyes shut, he rested his head on your bosom.

Arthur found comfort in his typical role as protector and provider. But in these moments, when roles faded, he could feel the weight of the world lifted off his shoulders—a crushing weight he didn't even realize he was carrying. Being with you like this made him wonder if heaven was real because you were godsent.

To Arthur's dismay, you unraveled yourself from him to tie the tent flap closed, sealing the two of you away in the dark. Walking between his legs, you untied his neckerchief and dusted his soiled shirt.

"—Needs a wash. Your blood or someone else's?" you questioned, fingers undoing the top button.

"Not mine," he answered. Peeling the shirt off and tossing it aside, you studied him for a second time tonight. He'd seemed more relaxed than when he arrived, but his brow stayed brooding. Still positioned with his legs on either side of you, you caressed his face, one of your thumbs stroking the hairless scar on his chin.

"What else can I do?"

"You done enough; I'm fine." He gave your hand on his face a reassuring squeeze.

Leaning forward, you kissed him tenderly. His arms wrapped around your waist, drawing you nearer until your foreheads touched. You spoke low against his mouth, a playful grin forming on yours.

"You gotta stop getting yourself into so much trouble, Arthur Morgan."

Your demand was met with a chuckle, and he replied, "I'll do my best, darlin'." You peppered his lips with loving, tender kisses, making him smile against them and squeeze you tighter in a hug. You would do just about anything to see that man smile at you the way he did, all soft and endearing.

Your kisses subsided, but Arthur's affectionate gaze stayed fixed on you. The slight smile on his face had straightened, his expression mirroring the intensity of the one he wore when he first confessed his love for you.

"Got that look on your face," you told him, and he just blinked slowly, awestruck. Though he often swore he was a man of few words, he could fill volumes with his devotion for you. You loved it when he got like that, entranced and overwhelmed with love.

The way he watched you set a fire within you that warmed the most intimate parts of your being. He was surprised when you let yourself fall heavily into him, trying to get as close as possible. Maybe he was going to say something or make a noise, but he didn't have the time before your mouth was on his again, your tongue pushing through his lips to tangle with his. You only pulled away when you needed to breathe.

Instead of pressing your lips to his once more, you dropped to your knees in front of him. Eyes widening, he tried to bring you back up to your feet, shaking his head, once again astounded by you.

"Sweetheart—"

Still on your knees, you patted his cheek and looked up at him with doe eyes. "Shhh, let me take care of you, Arthur." His hand found yours on his face, and he turned to kiss it, nodding placidly. Both of you managed to keep your volume low as you helped him strip down to his union suit. You began working at the buttons of his neckline, doing more ripping than unbuttoning, shoving the fabric down his shoulders.

As more clothing fell away, you trailed sweet kisses down his abdomen. At the same time, his hands roamed wherever they could. The rough pads of his fingers lightly tracing your skin mirrored a faint electric charge. Despite being a brute of an outlaw, he was overly careful with his hands when it came to you; your body was fine china and deserved to be treated as such. Goosebumps formed in a wake left by his touch.

As you kissed down the trail of hair under his belly button, his rapid breathing hitched, and the bulge between his legs strained against the flannel fabric, begging to be unleashed. You tried to find his eyes as you groped him through the underwear, but his head was tipped back, his mouth agape.

"Look at me." You whispered, and he snapped to attention like a soldier following commands. Eyes locked on his, you unclasped the last button, and his length sprung free, the pink head of his cock primed with anticipation. A teasing laugh crept up within you as you trailed soft kisses from the base of his shaft and left one long lingering peck on the tip. The loud, rhythmic thumping of his heart was music to your ears. Not wanting to keep him waiting any longer, you took his entire length in your mouth, bobbing your head up and down, taking him deeper until your nose touched the curly hairs at the base.

Then he couldn't hold it in anymore; a deep, guttural groan escaped him.

Your mouth was the warmest, most intoxicating blanket he'd ever been wrapped in, and he never wanted to leave. He gaped at you, seeing your mouth full of him, his pupils dilated with pure lust. The blunt tip of his cock pressed to the back of your throat, making it constrict around him. His whole body shuddered.

"Look whatchu' do to me, woman," he rattled, tangling his hands in your hair. Despite his eagerness, you withdrew from his aching sex, a string of saliva joining your lips to him. Something reminiscent of a whine exited him when you stepped away, but his open mouth fell shut at the sight of your bloomers slipping down your legs. You kissed him, savoring the salty, bitter taste of his arousal mixed with the tobacco and herbs of his mouth.

"Lay back," you murmured in his ear. Obeying your command once again, he let out a grunt as he felt your weight on top of him. You straddled him, and he held you up, his fingers digging firmly into your sides. Bending at the waist, you kissed longingly, your hips undulating against his. He pulled your nightgown up around your midriff, one of his hands gripping the flesh of your ass while the other one went between your legs. His index finger sank painstakingly into your weeping cunt, then brushed over your clit, making you shiver. He raised himself on his elbows, reaching for the hem of your sleep dress.

"Take this off; let me see you." You raised your arms and let him yank the garment away, leaving you completely exposed on top of him. "Beautiful," he breathed, using the back of his hand to graze your skin. Breathy sighs escaped you as he traced delicate circles around your nipples. His eyes bored into you, absorbing every detail like you were the most captivating thing that ever lived. Hyperfocused on your body, he fondled your breasts before gliding his hands down your torso, ogling, taking all of you in.

Freezing, his stare intensified as you massaged the tip of his cock up and down your glistening slit. Touching his lips to yours, you pushed him into your wet folds. Neither of you could contain the sounds building with you. He split you open, stretching you, making room for him, filling you. You held yourself up with your hands braced on his chest, but you went weak as he bottomed out within you, brushing against that deep, tender spot. You would've fallen if he wasn't there to hold you up, a thought mirroring one he had about you so often.

"I got you," he whispered into your ear. It took every ounce of restraint he had not to snap his hips up into you, the warm embrace of your center clearing his mind and driving him mad all the same. Finally, you started to ride, surging and sinking into him. He was a simple, agnostic man, but being with you like this made him believe in all the theocracy of angels, soulmates, and divine intervention. This was his bliss. This was his heaven, and you were his seraph. He'd go through hell every day if it meant coming home to this—to you. Hypnotized in the rhythm of you, a new thought crossed his mind every time you bounced.

Up.

She's so goddamn beautiful.

Down.

So perfect.

Up.

My girl.

Down.

My girl, my girl, my girl, my girl.

Up.

My angel.

Down.

I love her so much.

Up.

So wet.

Down

So warm.

Up.

So danm tight.

Down.

Shit.

And before you could come back up again, he squeezed his eyes shut, halting your hips with all the strength he could muster, fighting the damn-near irresistible urge to cum inside of you. Sweat had built up on his brow, and his stomach rose and fell quickly with each panting breath. You folded to kiss him, your hard nipples grazing against his chest.

"It's okay," you whispered, patting his face and grinding antagonizingly slow against him. You wanted him—needed him— to come undone for you. With that goal in mind, you picked up the pace and rolled your hips relentlessly, moaning your every thought into his ear.

"You feel so good inside of me."

"I need you."

"I love you."

Your climax was building fast, and you reached to give relief to that sensitive bundle of nerves atop your center. Arthur pushed your hand away swiftly, replacing it with his own. Always a giver, he'd do anything to feel useful while you were treating him like royalty.

While one hand worked your clit, his other gripped the meat of your hip, rocking you in time with his upward thrusts. His head tipped and hit the pillow, and you could feel his thighs tensing and shaking beneath you. Lips parted, he stared up at you. You felt him twitch inside you, and his brow finally relaxed.

That did it for you.

You were wordless as your orgasm ripped through you, your head swirling, and your veins on fire. Arthur's guiding hand on your hip didn't stop, and he fucked you through your climax. Hugging your body close and nuzzling his face into your neck, he growled as he painted your inner core with his own release. You stayed like that, glued to each other as you came down from your highs.

"You're too good for me," he finally said. You clasped a hand into his, kissing the long-forgotten bruises on his knuckles.

"Shut up." You responded, and he didn't say another self-deprecating word. It was the least he could do.

You cleaned up and redressed, nestling into the small, one-man cot. Finally settled for the night, you resorted to your regular bedtime positions: your head on his chest, his arms wrapped securely around you, your legs tangled in one another's.

He rose before you in the morning, perching himself on the cot's edge while you slept behind him. He wrote in his journal, his thumb leaving a smudge on the page:

"For a long time, I believed I could not live a bad life and expect good things to happen to me. Yet somehow, this woman of pure goodness entered my life, and it is clear now that I have been a fool."

[arthursfuckinghat]

So, I was nosing around the gang's tents and I thought that it was honestly so sweet that so many of them have photographs of themselves or of family right?

Little baby Charles with his parents, a young Susan, young Hosea and Bessie, but then I found something interesting in that pile of junk down the cliff just behind Arthur's tent-

Dutch actually writes notes for his famous camp speeches.

And if you've seen the speech that these notes are referring to, Dutch seemed to simplify it a lot when he recited it, almost dumbing it down for the gang entirely?

Writing notes for an important speech isn't the strange part, but the fact he dumbs them down and that these notes are hidden/thrown away out of sight is really strange to me. It makes me think that this is possibly a rough draft or early version of what he wanted the speech to be, sort of implying that Dutch practices and revises his speeches.

Which, if he ultimately dumbs them down for the gang, then what is the point?

The likely answer is that he holds himself to a higher standard because he feels he's above the gang members, in a way. He's the visionary, the leader, the man in charge, the one who reads philosophy books almost exclusively, to say that Dutch didn't think highly of himself would be a lie. And because the gang is 'below' him, he simplifies his speeches for them - despite majority of the gang being well educated and understanding. He doesn't think that the gang is as intellectual as him.

I made a post previously talking about Dutch and his Evelyn Miller philosophies and how he argues with gang members that don't agree or understand. It's especially interesting how Lenny, also an avid reader, disagrees so strongly with Miller's writings when that's what most of Dutch's philosophies are based on.

It solidifies that Dutch was manipulative from the beginning, and probably long before too.

[seagreenstardust]

“When toxic behavior is portrayed as romantic, it’s problematic. When problematic behavior is portrayed as a character flaw for a character to work through, it’s good storytelling.”

Katsuki Bakugou, my friends.

His behavior was problematic but never once portrayed as romantic at the same time. Katsuki said and did awful abusive things, and he also chose to be better when he was given the chance. If you’re still hung up on chapter 1 Katsuki now then I don’t think you’ve been reading the same story I have.

I can’t speak for everyone, but I’m not shipping Izuku with an irredeemable abuser. I’m shipping him with his most important person. His narrative foil. His childhood friend who made awful mistakes and then made it right when he saw he was wrong. The person Izuku looks up to and strives to emulate, despite their past struggles.

Bakudeku is so good because of how flawed these boys are, and how hard they’ve worked to get over it, and how much they matter to each other after it all

[butyouaremymess]

And I know in my heart hurt people hurt people

[clarissaweasley-10]

This might be a controversial take, but l don't think Eve deserves or should get a redemption arc.

[fablexdreams]

The amount of people who think that the Strange Man is talking about Arthur when he says to John, "You've forgotten far more important people than me," will never not astound me. Yall really think John could possibly ever forget Arthur? Arthur? The man he grew up with? Who taught him? Who cared for him? Who helped raise him? Who saved him multiple times? His brother? The same John who could not rest until Micah Bell was dead because he couldn't let go of his pain and anger over how Arthur died? The same John who still wore Arthur's satchel and kept his hat and wrote in his journal? That John? Little Johnny Marston? Please be serious. Arthur haunted John's dreams and thoughts until the very day he died in front of that damn barn, and you can not convince me otherwise. If he remembers Dutch, Bill, and Javier, I promise you he sure as shit would remember Arthur lmfao.

[hella1975]

would you like to talk about how bad the mha ending was hella

as much as i would love to give like. a comprehensive response i genuinely dont think i can get my words together just yet without it being a constant unintelligble stream of 'AND ANOTHER THING-' and bc it's become quite torn in the fandom on if the chapter was good or bad i want like. an actual coherent response here. so i will reblog this if/when i can word it but know IM NOT FUCKING HAPPY

[candyskiez]

Do you ever think about Minoris reaction to being freed from the possession because I do a lot. Like. Imagine you were used as a puppet to torment this incredibly kind and patient boy, who didn't do anything to you except be too odd and off-putting. Imagine you said so many horrible things to him and made school unbearable. Imagine you tormented him until he finally snapped and then he saves your life. After you made his life a living hell, he just...saves you anyway. And he looks at you with big, disappointed eyes and asks you if you actually treat people like that. If you would actually make someone's life a living hell or if that was just Mogami rewriting your personality to suit his needs. And you could lie. You want to lie. But you don't. You are like that. You have done it, multiple times, too many times. You've berated and harassed people who've done nothing but been too weird, too annoying, just existed wrong around you. And you have no excuse. They didn't do anything wrong. He didn't do anything wrong. And what are you supposed to say? "You didn't deserve it" what does that even do? What would make what you did hurt less? What would make up for all the horrible things you told him? What can you possibly say to make up for it? Would you even have said sorry if he HADNT saved you? Do you even know?

And then he just tells you to change. You both know sorry isn't enough. Sorry will never be enough. There is nothing you can do to take it back. You just have to be better. And you have no idea where to start. You have no idea what being a good person even means. And you have to live with knowing somewhere out there there's a complete stranger who will always remember how you treated him, and who decided you deserved to live anyways. And you have no idea why.

So anyways how's your day going.

[michsmeesh]

have u ever drawn modern au jovier? love all ur work btww^__^

i have drawn them already but i'll gladly draw them again and again and again and again and

[grahamcarmen]

And my thing STILL is that as carmen gets a stronger sense of her past and better connections with her friends and allies the need/desire for Gray in her life doesn't decrease and dissapate, it INCREASES and is refined. All while constantly being more sincerely layered in romantic tones as the show goes on.

[dw-flagler]

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

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

"MHA has better characters,"

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

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

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

"a better plot,"

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

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

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

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

"better worldbuilding,"

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

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

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

"stronger themes,"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

No, the Villains don't get happy endings,

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

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

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

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

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

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

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

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

[arthursfuckinghat]

"Why doesn't John talk about Arthur that much in the epilogue?"

He admitted to Mary-Beth that although he doesn't talk about Arthur, he still thinks about him a lot, even eight years later. John was grateful for Arthur's sacrifice and tried to honour that by killing Micah, but he was determined to put the past behind them so they could focus on the new life they had built for themselves. Here, he doesn't say that he wants to forget Arthur, he just doesn't want to dwell on what was a painful time in their lives.

[bonefall]

Is there a cat in cannon who got a good death who you think didn't deserve it? Especially if they committed crimes?

Tom the Wifebeater and his redemption death. No question. It's not even close.

Not only do I reject to the "redemption death" on the grounds of it being Tom the Wifebeater who is bullying others until his dying breath, even taunting Thunder about Turtle Tail is dead and the kits must be very torn up about it, but I reject "redemption through death" entirely. I don't like it in stories. It's a theme I deeply object to.

And again it's fucking wild that every time a character is a father, even if they are a wifebeater or a child abuser, the writers think that it bestows a glimmer of goodness into them which every abused child is forced to appreciate and cry about. Breezepelt, Thunder, Tallstar, Tom's children, all of them forced to reconcile and admit how much they wuv their papa.

Abusive dads in WC regularly get redemption deaths, too. Clear Sky dies saving his grandchild, Sandgorse died saving a rando in a tunnel, Tom the Wifebeater saving his daughter.

But Tom the Wifebeater is the worst example of it. Hands down.

[crispycostumes]

explaining mór and niall's divorce to a friend like, yeah they got divorced because they had differing opinions on infanticide, no the differing opinion wasn't whether or not to commit infanticide

[sapphic-agent]

When you see a take on your favorite character so bad that it actually makes you sick to your stomach-