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linkspooky · 6 months ago

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JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design.

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

#mha meta #mha spoilers #mha 426 #mha 426 spoilers #shoto todoroki #dabi #toya todoroki #enji todoroki #under the red hood #jason todd #bruce wayne #batman #mha critical #todoroki family

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originalartblog · 9 months ago

Text

"Nawy what do you MEAN quick-ish 3D render it's got scratches and everything and I thought this was real for a minute!!"

Well, first, thank you very much that was the intention ❤, and second, you see, all speed is relative, and between finding my references, modeling, texturing and lighting, on top of having to learn how to make convincing gems, it still took me quite a few hours. I, however, cut corners everywhere for speed, and I wouldn't put this piece in a portfolio in its current state.

But! for the curious, I thought I could do a simple breakdown of how the witchcraft happens, without using too much specialized language to make it more accessible. In short,

In this case, I’m talking about a 3D model that was textured (colours and stuff) and then lit (lights on!) to make a pretty final picture. The objective is not to make a tutorial, but to put in simple terms what a 3D artist does to make something go from this, to that:

(people curious and/or trying to see if this interests them welcome)

I'm skipping the 3D modeling part altogether, since it isn't where most of the magic happens here. Just know that to be able to add colour and stuff on a 3D object, you have to go through the process or "unwrapping" it, which is like doing those foldable cubes in reverse

and then we can draw on it!!

Now, the good stuff:

Surfaces (metal, plastic, fabric, wood, skin, etc.) have different looks that make you able to differentiate them on sight. To make something look realistic, you have to try to replicate real life into the 3D world (duh.)

The software developers took care of the hard part (math and coding), so as artists we can play with the parameters available to make something pretty. What those parameters are depend on which "recipe" we're using. One of the most common "recipes" for realistic results is called PBR: Physically Based Rendering, named that way because it's trying to replicate real-life light physics. In this case, the 4 basic parameters are called albedo, roughness, metalness, and normal.

Albedo is the base colour of the surface (easy stuff). Roughness is to determine if a surface is rough or shiny. Metalness is to say if something is made out of metal or not. The normal is there to add all those tiny details you don't want to or can't sculpt on your 3D model (engravings, fabric bumps, etc.)

The roughness and metalness are black and white images because the information you're giving to the software is black = no and white = yes. It's easier to understand in the metalness image, where everything that is NOT a metal is black, and everything that IS a metal is white.

The normal is a bit more complex, but in short, it uses the colours green and red to know what is up/down or left/right, and will help the software fake relief on top of the model. You don't make it by hand; it's computer-generated from other stuff I'm not getting into.

With the technical stuff out of the way, we can actually use these. There are specialized softwares that will let you preview the results of each parameter in real time, so you can see what you're doing easily. This is what I have.

That software comes with some types of surfaces that are already set up, like the fabric in my piece, which was already 85% good for me straight out of the box. Then, it's up to me to use the tools available to decide how shiny a surface is, if there's dust or scratches and where, what colours things are, if there's metal parts, etc. That's where you can see a 3D artist's skills.

And finally, you bring it all together into a specialized software that can render 3D stuff and use those images on the corresponsing parameters, and then light the scene.

Because it all comes down to this: the light! For something realistic, light is vital to get right. You can pour your heart and soul into those tiny scratches, but if you don't light the scene correctly, well...

So we carefully light the scene to get some nice highlights to make the textures look good and highlight our subject (it's basically a photography studio inside a computer)

And then we add some camera effects...

and voilà! pretty picture!!

... and if you somehow did notice something different with the bolo tie from my last post, I did find out while taking all these screenshots that I messed up my initial renders in a way that made everything darker than it was supposed to be and that's why my gold looked so muddy...

I hope this was interesting and that you learned a thing or two!

#welcome to nawy's 3d school for complete beginners #nawy's 3d #technically not art but... you know...

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tinydefector · 5 months ago

Note

Not really a request but more of a ramble. Ive always been torn betweenn Cybertronians not really having any material instincts and just essentially knowing how to function since creation. Kinda like Steven Universe. They can be young and differ in how much knowledge they hold but overall they have the bases of how to function without any caretaker needing to be around. But then I immediately start shaking at the thought of them having even stronger instincts that humans. Maybe closer to animals that have come to accept a human as their own. Just picturing a cybertronain seeing someone who's carrying and immediately is distressed on how little protection our clothes offer. Nows theirs a bot who keeps hissing at those who get to close other humans included. Their plating is ruffled and if they are a seeker their wings are spread in a threatening manner. May you have the patience of a Saint if said seeker has a large trine because now they all share the same feral need to protect. A con that stumbles upon a lost child and immediately claims them as their sparkling.( if you wanted to make it a bit gross I can imagine they do a forced adoption the same ways farmers do sometimes. Where they just kinds cover a stray baby with the fluids of a mother to create that connection. Kinda gross but I can see it being used to further claim a child) They consider the biological parents of the child nothing more than food and shelter for their now sparkling. They try a coo and speak to the child in their natural tongue. A seeker that chirps and clicks its glossa. A grounder that does low hums and songs like a whale. Sorry for the long ramble haha. I just think the ideas of cybertronains either having no idea what instincts are but also the ideas of them drowning in them. Or meeting humans just relights their feral mindsets in any and every way.

I happen to really love both ideas a lot. I enjoy the idea of Cybertronians not understanding family or parental rolls, Forged sparks start off in smaller frames and slowly gain more framing as they get older. Instead, it works more like a mentor and apprentice side of things. They teach you how to do your job, keep your head down like Terminus with Megatron. Their race doesn't have a name for the connection they have so in turn they call each other friend, but intruth it's more than that but they don't know how to explain it or express it, they dont raise the younger one but they are their for special events such as plating ceremonies. To Megatron Terminus is an elder, someone to be respected for his knowledge and teachings. And they both care for each other, when Terminus us gravelly injured Megatron does everything he can to try and help him because he feels like he owes it to terminus for everything the older bot as done for him. It's a mutual benefit of a bond that's isn't family but also is much closer than friendship.

But on the other hand, I look at Optimus and Codexa, and I love the idea that I found this little bitlet and instantly went mother mode. Practically scoops him up out of a hotspot and takes him home with her. She's very attentive and is the one who even names him. In all aspects, he is her son, and she does everything she can to try and raise a good mech, and she does a wonderful job. She teaches him to read, sings to him, and each plating ceremony, she keeps a piece of his old plating similar to humans and baby teeth. She celebrates when he gets his first job as a Liberian because she put so much effort into making sure he had a comfortable job, not wanting him to struggle like so many other mechs less fortunate.

And then there is my headcanon for birthed sparklings, which differs depending on what frame type they are. They experience different behaviours. Grounders are in different sub sections

- Tanks: Megatron, Tarn, Warpath, Blitzwing

- Mine frames: Megatron, Terminus,

- Hauliers : Optimus Prime, Sentinel Prime, Ironhide, Ratchet, Inferno, Kup,

- Emergency services: Prowl, Ratchet, Pharma, inferno

- Battle Chargers: Ironhide, Hound, Sideswipe, Sunstreaker, Trailbreaker, wheeljack, Tracks,

- Praxian carters: Prowl, Bluestreak, skids, Smokescreen,

- speeders: Rodimus, Drift, Jazz, mirage, redalert, blurr, Tracks,

- mini vehicle: Bumblebee, Tailgate, grapple,

- Vosian Fliers (later Seeker's): Starscream, skywarp, Thundercracker, sunstorm, Nacelle and so on all of the Jets.

- Helimech: Whirl,

- aerial Shuttle: Cosmos, Omega Supreme, Senator Shockwave.

- Combiners: stuntacons, combaticons, constructicons

- Cassettes/ mini bots: Ravage, Rumble, Frenzy, Rewind, Lazerbeak, buzzsaw

- non Traditional frames: Rung,

- Non shifters:

There's a lot more but these just just who I can think off off the top of my head.

____

Tankers and Mine frames don't get the luxury of families or raising sparklings, most of them are cold constructs, and don't get a chance to see life outside of mines or duties they have been put into. But if given the chance they are actually very protective of a sparkling, they will fight to the death for their bitlet even if it isn't their. Their behaviour is very similar to a bear mother with their protectiveness of a child, human or cybertronian.

Megatron's optics focus on the tiny form in his lovers arms. If it were any other situation, people would think he is glaring at the tiny baby being placed again in his Chassis. "They have no plating or outer frame, no protection." He states while looking to his lover. "They are a baby, Megs, human babies don't have anything like sparklings, they are very fragile," they explain with a smile as they watch their child try and grab Megatron's large digits. His optics soften as he watches their child as the baby babbles and giggles up at him. It makes a switch inside his possessor flick. Nothing would ever hurt this child. He would make sure of it. A deep rumble leaves his chassis as he lets them play with his large servos. A laugh leaves his lover as they watch him. "You look like a grizzly bear with a cub," they chuckle as they lean up to press a kiss to the side of his helm.

Hauliers tend to see a random sparkling and go. "You're mine now, I'm going to warp you up in bubble wrap and keep you in my cab so no one can hurt you" Hauliers tend to be very attentive carriers/ Sires to adopted or sparked bitlets. A lot of Hauliers tend to be very nomadic in the rust sea moving inpacks. They tend to behave more like migrating herds when on cybertron, but those who live in the cities tend to make a very homey and comfortable for sparklings. But also they are the ones who panic the most when their child puts something in their mouth they shouldn't have.

Optimus chuckles as he watches his bitlet roam around. Playing with sticks and mud. He sits not far off watching them as they play his optics soften as they giggle and let out little buzzes of excitement as they find a new rock. "They seem to be enjoying their first proper road trip," His lover calls out as they walk their way over to him. Leaning down to press a kiss to his Helm. "They are very fascinated by a lot of things on Earth," he rumbles his optics, meeting his partners. "Can you really blame them, I remember a certain bot being very fascinated with Terra's fauna when we first arrived here," they tease him. Another squeal of delight comes from their sparkling as they begin trying to chew on a rock. Optimus let's out a slight noise of panic as he quickly moves towards them. "No, no, Bitlets, you can't eat that," he states while trying to pry the rock from the little ones' servos. They squeak and squeal in protest before eventually letting go of the rock. Another laugh leaves his lover as they watch the two.

A lot of emergency vehicles tend to not be the best for being parents. Mainly due to their work and just not having the time for a bitlet. But they are very attentive to those who do have them, trying to calm them and make sure that they aren't hurt and can make it back to their parents. A lot of the time, they will put up the disgruntled act of the dad who said they didn't want a cat, but then ends up with a child curled up on his chest as he works.

Praxian carters tend to act very similar to seeker, but with children and sparklings its as if they can feel where they are but have a tendency of paranoid when they can't see their little ones. Their door wings will flicker and twitch when they hear their children and will respond back with soothing little clicks. A lot of the time, they will carry their sparklings on their back between their door wings.

Prowl wasn't impressed with Sunstreaker or Sideswipe. The two young mech burst out into fits of laughter watching him with a human baby strapped to his chest. His wings flutter in dispair as they begin taking photos to send to every mech they know. "Oh Primus Prowl, when did you get yourself a bitlet!" They ask while also fauning over the baby who giggles and reaches out with grabby hands. Prowl let's out a slight,all collection of angry clicks as his optics narrow in on the twins. "I am looking after them as their parent had an important meeting today," he snaps as he begins walking, trying to outpace the twins as they continue shooting questions at him. "But you have them strapped to your chassis like they are battle gear!" Sunstreaker laughs, which earns him a smack up the side of the helm from Prowl. "They are too small and too young to be left to their own devices, and the safest place for them is where I know they are," he grumbles before slamming the door to his office shut.

Speedster are one of the cybertronians who tend to forget their child exist sometimes, having no awareness until they are like something is missing. Oh Primus, where is my Bitty!. They are very live fast die hard kinda mechs and it translates over to their child. They are very much the one who will proudly show off their child who is currently eating something they shouldn't be. But they are also one of the most cuddly with their child. Curling up with them to their chassis as they purr loudly.

"RODIMUS PRIME, DRIFT DEADLOCK WHATBARE YOU LETTING MY BITLET EAT!" their voice boomed as their optics narrowed in on the two speedsters and sparkling. Drift turns around in an instant. "I tried to stop them, I swear, but Roddy dared them," he states. Rodimus looks sheepishly at his lover as their sparkling laughs and shouts. "Told you I could!" The little one shouts in excitement, not carrying about the disappointed look from their other parent. "You timeout, you Decontamination spray Now, and You... I'm not angry, but I'm disappointed, " they state, which makes Rodimus face drop. "Nooo. That's worse!" He shouts only to have his bitlet laugh at his whining.

Seekers are the most parent of all cybertronians to the point that some trines work as a family system. Each seeker is a carrier to one seekling, but also being the sire to another or having one seeker who is the sire to two. But then their is the others who aren't spark bonded to others in their Trine, because tries can consist of siblings, cousins, parents or complete strangers so each trine is different. but the family works to train and care for all of them together. They speak in a pigeoned vosian, which is a mix of chirps, thrills, and other little vocial noises. They are also the most social. With large gatherings for sparklings to meet and also bond with others so that they can eventually find their own trine.

For example, I love the idea of Thundercracker and skywarp being brothers, but starscream is trine bonded with them.

Acid storm, Nova storm being a bonded couple who ended up with Sunstorm who is much younger who try care for as their sparkling.

Dirge, Thrust and ramjet who are all random Seeker's who became friends at a young age and are a trine but aren't together at all, they be the boys who go out on the town and wake up in their flat with a hangover and a random mech/ Seeker in their berth.

Nacelle trills lightly as the little seekers curled up in blankets and pillows. Wings fluttering in delight as he watches the little mechs curl up again each other. His two lovers chuckle softly, watching how me preens and chirps and thrills at his two little bitlets. One of his lovers moves closer to him, resting their helm against his backstruts as his wings flutter again. "They are just sleeping sweetspark you can step away. They aren't going anywhere," they call out to him. "I know, they are just..." he starts before his other lover calls back. "Fresh, I know and very you, but they are here finally, you don't have to stand guard all the time," They tease before leading him into the room towards the fluffed up berth. "I think that's enough playing guard for the night"

____________

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arcanewhoosh · 7 days ago

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The Weight (1/3)

3.3k words

Proofread? Y/N

Relevant Tags: Jinx x Reader, Post series finale, Canon compliantish, time skip, reader runs a port, alcohol consumption, original characters for interaction's sake, three shot hopefully

You were really hoping to have a chill day at work. Was your current predicament your own doing? Yes. Were you still going to complain about it anyway? Also yes. But while you were almost one hundred percent sure that you wouldn't have to run around putting out fires,--you prided yourself in fixing up how efficient the port was being run--an unexpected landing from a rogue airship ruins the peace and quiet you were hoping to have. You would've been pissed. On any other gods-given day, you would be incredibly pissed. But unfortunately for you, the pilot of the ship has you wrapped around her finger the second you lay eyes on her.

"BREAK. BREAK. PAPA MIKE THIS IS TRAFFIC CONTROL. DO YOU COPY?"

You groan, rubbing your temple as you reluctantly reach for your radio. You were praying for a slow day, your hangover from the previous night still glaringly in full swing, but alas, today just had to be the day an army of ships were going through the bay. You curse the ray of sunlight that hits you square in the face when you sit up in your chair, letting out a huff before pushing the call button.

"Ten-four. Traffic control this is Papa Mike. What's the situation? Over." The radio beeps as you let go of the call button, before it crackles back to life.

"PAPA MIKE WE HAVE AN UNAUTHORIZED AIRSHIP ON DOCK EIGHT. OVER." You pick up a copy of the manifest, eyeing schedules for the aforementioned dock. A red ink pen was used to overwrite Available on the manifest to Maintenance. Sighing, you stand up and head closer to the window to get a view of the dock. The radio beeps again.

"PAPA MIKE. STATUS?" You reach for the radio on the table, its coiled cable stretching out as you yank it with you towards the window. Yup, there's an airship there alright. Looks like it came from Piltover based on the design.

"Copy that Traffic Control. Affirmative on the unauthorized airship. Dock eight's supposed to be under maintenance. Over."

"COPY THAT, PAPA MIKE. WE'RE GONNA NEED YOU TO GO UP THERE AND CHECK THE SHIP. NEGATIVE RESPONSE ON SHIP'S RADIO. OVER."

"Huh?" You mutter to yourself, before pressing the call button again.

"Traffic Control why do I need to go up there? Over."

"PAPA MIKE WE HAVE NO AVAILABLE HANDS. THERE'S TOO MANY SHIPS COMING IN TO THE PORT TO CHECK ROGUE AIRSHIPS. OVER." Great, just great.

There had been a recent influx of visitors coming from all over. It had started with whispers of a war between Piltover and a Noxian fleet, and people were scrambling to get as far away from the city as possible. Something about Hex Gates being fought over, which was expected at some point, really. How could anyone just watch as Piltover create the scientific equivalent of teleportation, and not want a piece of that pie? You had your money on Piltover eventually falling, since there was no way a merchant city would have a chance again a Noxian army. Imagine your surprise when they did manage to win.

Then there were travelers headed towards Piltover. With the sudden decline in population, especially for workers, the city-state welcomed people with the promise of work and opportunity. You heard from somewhere that they were willing to give stipends depending on the work you'd be able to contribute. You were briefly tempted yourself, until you realized that Noxus might retaliate and cause more trouble.

Though regular ships were expected to show up at your docks, the influx of airships were a surprise. But you figured that Piltover airships were riding the coast instead of staying on land so they could avoid having to travel on Noxus territory entirely. From where you were standing, several stories high, you could see a long line of passenger and private vessels lining up to dock; looking a bit to your side, airships were also moored, rendering the port to near full capacity. Routine maintenance became frequent, just to make sure none of the sea and air docks would suddenly have stability issues.

All of the airships were lined up in a neat pile on their moors, except for that one rogue airship on dock eight. You frown as you shoot a glare its way.

On one hand, you could do your job, go up there and check out which Piltie decided to moor their airship there; this definitely wasn't the first time this has happened. On the other, just leave the ship be and ignore traffic control. You much prefer the second option, really. But that would get you fired, and you're not really looking forward to being fired. So you let out another groan as you lightly bang your forehead on the window. Of all the days I'd have to walk outside in the bright ass sun. You think yourself as you hit the call button.

"Ten-four traffic control. Wilco. Over and out." You toss the manifest onto your desk and hook the radio back up as you hear Traffic Control acknowledge you. You put on your sunglasses and put on your work jacket and cap, then down a cup of coffee before heading out the door.

------------------------------------

"Take the job at the port, they said. They'll just make you haul stuff, they said."

Your face scrunches up in disdain as you walk along the air docks. The sun was especially bright today, and on any other day, you'd actually enjoy it. But today, with your head throbbing, and your stomach reminding you of your poor choices the previous night, you absolutely loathed that incessant ball of fire.

Dock eight was near the end of the platform, which meant a longer walk. The wind decided it was a good time to pick up and was whipping against your face; you hold on to your hat to stop it from flying off. You made a silent promise to punch whoever was the captain of the rogue ship. As you round the corner--a sign with the number eight painted on it and Under Maintenance right underneath it--you spot a cloaked figure trying to tie down the sides of their ship onto the platform.

"Hey, pal. You're not allowed to dock here." You pick up the pace--not by much due to your queasy stomach--as you approach the ship and grab one of the lines and tying it down. The ship's pilot--whose shoulders seemingly sag in relief once you're able to secure the vessel--is still turned away from you, trying to secure another line. You raise your voice to try and beat the loud whipping of the wind.

"Hey, did you hear me?!" The figure stands up straight and turns to you, her hood being blown off.

You see the most beautiful eyes you've ever seen in your life.

"What?!" She shouts back.

You try to say something, but end up stammering and unable to get any words out. Thankfully, the wind calms down, and you're able to think in relative peace even though your mind was still fogged by your hangover.

"Uhm, you can't dock here. This one's under maintenance." You point towards the sign behind you. She cranes her neck a bit to get a look behind you, her blue hair flowing effortlessly off her shoulder. She clocks the sign, then turns her eye back to you.

"Sorry, who are you?" She asks, an annoyed look crossing her face.

You're not usually snippy, but you're hungover, and this girl

had the audacity to ask who you were when she's the one illegally docking her ship on your port.

"Oh, silly me!" Feigning surprise, you have one hand on your chest, one taking off your hat in an exaggerated and flowy motion. "How incredibly rude of me--" your talk in a higher pitch than you usually do, committing to the bit you're pulling. "It looks like this says--" Your face drops, and you mirror the annoyed look this beautiful, audacious girl is sending you. "--Port Master." The tone of your voice is icier than you would have wanted it to be, and she winces at you. Wow, now you feel like a jerk.

"Look, I'm sorry." She puts her hands up, as show of peace. "I had to do an emergency landing. There's been something wrong with the engine--"

"You could've answered the radio transmission."

"Yeah, no. That's busted."

"How convenient." She takes a very deep breath at your deadpan responses. Even closing her eyes before exhaling--Holy shit she's gorgeous--and maintains her calm demeanor as she tries to explain herself.

"I'm really sorry. But I wouldn't just randomly dock if it wasn't an actual emergency." She points towards the engine at the back, and sure enough, a small plume of white smoke is emitting out of one of the propellers. Your brows furrow as you try to take a closer look at the engine. The smell of something burnt fills your nostrils, and the pain from the headache you're been trying to ignore increases.

"Go moor the ship and turn off the engine." You nod towards the mooring mast as you rub your temple. She shoots a curious look your way.

"Are you okay?"

"Yeah, just moor the ship." You wave her off as you head to the radio box, opening the panel with a click, and flipping the switch to turn it on. The previously hollowed light turns green, and a low hum signals that it's functioning. You grab the microphone and push a button.

"Traffic Control, this is Papa Mike on dock eight. Do you copy? Over." The radio starts to cackle before a response. "TEN-FOUR PAPA MIKE. ANY NEWS ON THE STRAY DOCKING? OVER."

"Qualified emergency landing. We got engine trouble. Ten-seventy-eight, tug ship for hangar transport. Over."

"COPY THAT PAPA MIKE. TEN-TWENTY-THREE ETA FIFTEEN MINUTES. OVER."

"Ten-four. Over and out." You put down the microphone and let out a sigh.

"What'd they say?" You jump from the sudden voice coming from behind you, and you hit your hand on the panel door. You yelp as you try to shake out the pain from your hand.

"Fucking hell, when did you get there." She crosses her arms and shrugs.

"Literally while you were talking to your traffic control." You nod as you double over, the pain in your hand teaming up with your headache for an optimal terrible time. You don't notice her approach and lightly put her hand on your shoulder. "Hey, totally none of my business, are you sure you're okay?"

"Yeah," You say quickly, straightening up and holding onto your still aching hand. "Just, super hungover." You wince as a few clouds part and the sun hits your face. "Fuck, anyway. We'll send a tug ship down to get you into the hangar. We can do an engine check there."

There's a surprised, confused look on her face. "I can't kick you out with a busted engine." You offer before she can ask. She still looks a bit confused and uneasy by the offer, but nevertheless mutters a Thanks before turning around and walking to her ship, you tentatively follow from behind. "You should get your valuables and some clothes. We can let you into the hangar to fix the engine, but you can't sleep there. There's a good selection of places to stay down at the town, in the meantime." You stay behind as she disappears into her ship.

She pops back out a few minutes later, having doffed her coat. Your eyes immediately catch the tattoos peeking out from her sleeve. She raises an eyebrow at you, a smirk playing on her lips, before tossing you a vial.

"What's this?" You ask, popping the cork, and mistakenly taking a whiff of its contents. You cough from the smell.

"Hangover cure." She says as she walks past you, checking over her lines on the cleats of the dock. You debate whether or not you should drink something this total stranger just handed you. Unfortunately, pretty privilege is a thing that exists, and you're only human. So you down the contents of the vial, and you stop yourself from gagging from the oily feel of the liquid.

"Woah, hey! You're supposed to rub it on your forehead!"

"I was supposed to what?" She grabs the vial from your and checks how much is left, before looking at your horrified expression. She looks at you with concern, then back at the vial, then back at you, before snorting.

"I'm sorry, I'm kidding, I'm kidding. You're supposed to drink it." She tips the vial over and spills what's left of it into her mouth. You try not to pay too much attention to her sharp jaw or the way the muscles on her neck move when she swallows. "See. It tastes like ass, but it works."

"What's even in it?" You ask as you hand her the cork. She shrugs.

"You're better off not knowing."

"Great."

You're about to ask her how she ended up in your port, but the tug ship comes into view, and the radio box starts to ring. You excuse yourself to walk back to answer.

"DOCK EIGHT THIS IS TANGO-SIERRA-ONE RECEIVED TEN-TWENTY-THREE REQUEST. CONFIRMATION FOR ASSISTANCE? OVER."

"Tango-Sierra-One this is dock eight. Ten-four on the assist. We need to get this ship to the hangar for an engine check. Over."

"COPY THAT. CLEAR IMMEDIATE AREA FOR LINE DEPLOYMENT. OVER." The tug ship starts to hover above the Piltover ship. It's much larger propellers kicking up a wind and dust.

"Hey! Get over here. They're gonna deploy lines." You beckon the girl over, and push the call button on the radio. "All clear!"

You hear a ten-four come from the ship, as lines come down from its side, lowering down to the side of the smaller ship.

"LINES DEPLOYED. TANGO-SIERRA-ONE TEN-TWENTY-THREE FOR ATTACHMENT. OVER."

"Ten-four. Over." The blue haired girl is on her tip toes trying to look over your shoulders.

"That means they're standing by while we attach the lines, right?" She asks. You mutter an affirmative before the both of you move to attach lines to the sides of the ship. You start untying the lines on the cleats, and instruct her to unmoor.

"I'll have to hitch a ride with you to the hangar." You say as you wrap her ship lines and put them away.

"Aye aye, Port Master." She gives you a mock salute as she heads to the mooring mast, and you head over to the radio box.

"Tango-Sierra-One radio on ship is ten-seven. Lift off at T-minus five minutes. Over and out." You wait for the tug ship's confirmation before switching off the radio and closing the panel, signaling for your companion to board the ship. "We got five minutes before they start lifting the ship." She nods and gestures for you to head inside.

---------------------------------------------

"Right," You start, taking off your hat and jacket. "The hangar we don't usually rent out, but in cases of emergencies like this, you can use it but you still have to pay the port fees. It's usually double, but I'll waive it since that hangover cure is actually working."

"Covered dock where I can repair my ship and I pay the same fee as the schmucks outside? Sounds like a steal to me." She says as she takes your things and sets them down a chair. "You give discounts to all the girls with engine trouble?" The desk on the side of the ship creaks as she leans on it. She's got a mischievous glint in her eye, and with your hangover gone, you're more willing to bite.

"Only the one's that give me their name." You say as you walk over. You're momentarily distracted when you see a map on the wall, a chartered course written over it. She looks behind her to see what's suddenly got your attention. You tap the part where Piltover and Zaun are located. "You're a long way from home."

"Who says I'm from Piltover?" She crosses her arms, giving you a challenging look. Those goddamn eyes.

"Your ship screams Piltover."

"Really?"

"It's obvious you made a few modifications, but yeah, it's pretty obvious." You chuckle as you point at the interior of the ship, clearly made for aesthetic more than utility. "Even the inside." She lets out a huff, and starts a rant about changing the interior when she gets the chance.

The ship suddenly lurches, and you're both thrown off balance as the tug ship begins its ascent. You recover first, steadying yourself on the desk then grabbing her by the waist and pulling her over to the desk as well. One of her hands grabs onto your shoulder when you reach for her, and the other onto the desk so she can steady herself. When the ship rocks to the side, she ends up pulling you along with her, and you end up unintentionally pinning her to the desk. Your faces suddenly a few inches apart. Mercifully--or unfortunately, depending on how you look at it--the tug ship is able to do a successful ascent, and the ship stops moving. You lock eyes, and you see panic, then surprise, then amusement come across her face.

"Definitely don't get this from other ports." Her eyes flit to your lips for a moment before they meet your eyes again. You proactively take a step back, trying to salvage some ounce of professionalism. Playful banter was one thing, pinning someone to their desk was something else entirely.

"Sorry," You manage. "I definitely don't do… that with other pilots here, trust me." You dust yourself off and start picking up stuff that had fallen off the desk. She seems to take the hint and fixes up the desk.

"So where are you headed after port?" You try your best to not sound nosy as you gather a few fallen pencils and stack them back into a cup, with neon drawings on it.

"Haven't really thought about it, I usually go wherever I feel like it." She points towards the map again, and the scattered course is enough to confirm her statement. You ask her about the places she's been to, mostly coastal cities, save from Piltover itself. Following the same patterns most Piltover ships use that avoid Noxian ports. Better safe than sorry, you guess.

Eventually, you start to see the hangar come into view, and you tell her to brace herself for the landing. You grab her arm when she loses her balance again, making sure to keep a respectable distance. Once a crew member comes into view of the window and throws an okay signal, the both of you exit the ship. You set off for the engine, and she follows with a tool box in tow.

"I have a guess on what could be wrong." She says as she opens up the back panel of the ship. "I'm pretty sure I have a blown gasket."

"I was thinking a cracked engine block." She gives you a look and you shrug. "Just a guess."

She grins at your response. "Wanna make a bet." She turns to the engine and starts unscrewing the outer parts.

"Sure. Always in the mood to be right." You can hear the snort coming from inside the engine.

"Loser buys the winner drinks. Anywhere they want."

"Deal."

"Get ready to lose money later then, I guess." You move to help her remove parts of the engine, which were thankfully cool enough to handle. Then, once you've both gotten most of the attachments unclasped or unscrewed, you roll an engine hoist over to remove the entire engine from the ship. "Ready to be disappointed?" She asks. You send her a cheeky smile.

"Wait." She stops short of lifting one of the covers.

"What, cold feet?"

You scoff. "No, you never told me your name."

She blinks, clearly not expecting the question. She looks off to the side, seemingly debating whether or not she should tell you. Not that she needs to, really, since you have to make her sign a manifest anyway. But you'd prefer if she told you herself.

"Powder." She starts. "My name is Powder." You crack a smile and introduce yourself.

"Powder." You test the name on your lips. It suits her. An unusual name, sure, but you've heard stranger ones.

"Nice to meet you, Powder. Ready to lose?"

"Not on your best day."

#arcane #arcane netflix #arcane jinx #arcane x reader #jinx x reader #i lrealized why airports were called airports while writing this lol #Jinx making an entrance

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evilminji · 1 year ago

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Okay but >.> continuing my Marvel thoughts?

I got two of um?

First being? Don't Orange and Green go together? *looks it up* Aaaaaay~ "Direct harmony, also known as complementary colors, means pairing your key color with the color sitting on the opposite side of the color wheel." They DO!!! They're a classic example, in fact!

The Orange Soul Stone? Probably looks REAL good, real NATURAL even, against that Green sky! Bet it REALLY pops! Very stand out statement piece, you know? But? More importantly? That thing is sentient. All of those Pillars of Reality across the various Verses are.

And?

I bet it thought Pariah was a lil bitch.

Rank Vibes. Negative ris. Pick your words for it, the man was NASTY. He was too keep his filthy, filthy World's Conquering hands OFF of this Soul Stone. Something, I imagine? That ALL the Soul Stones agreed with.

Yes, I said all of um.

Because the various Realities each need their own. But! They can and DO work from the Zone, which is the PERFECT place to hide. And honestly? They like to get together and do this thing? Where they're all "oooh~ look at US! We are SUPER IMPRESSIVE Kingly Jewelry~☆! Definitely no important reality bending Rocks Of Great Power HERE! No SIR! We're just tooootally rad jeeeeewelryyyyy~~~☆! Oooooooh~☆"

They like to have fun. :3

Hope Danny likes Orange. Ha ha... trick question. He doesn't have a CHOICE! All SORTS of Death based Reality Pillars are rocking up, in their metaphorical Gucci sweat suits and shades with a margarita, going "oh thank ME, babe. The last guy was AWFUL! You're soooo much better? Now let me rub myself all over you. It's been ages and baby needs to recharge on Death Energy."

Danny hates it? So? So much?

He looks like a GAUDY PIRATE. *nnnnnnyooom!* *THWAP!* *Another reality shaking, highly sacred, Godly Staff of Death or whatever they decided to call it, flys in through a nearby window and nearly concusses him as it smacks itself against his upper back and sticks there*

He looks like a walking junk heap of sacred artifacts.

You ever been pelted by rocks? He has! Little orange rocks! Like fucked up hail! Welcome to kinghood, Danny, have a CONCUSSION! D:< he hates it!

But... but, I mean... At Least It's Not The SWORDS. (Panicked scream of "hit the deck!" from the other room.) (Holy sword number 15 wants to CUDDLE! Bare blade first! Dodge, your Majesty! DODGE!)

So yeah.

Danny? In A MOOD. Not feeling particularly FRIENDLY. It's not anyone's fault, really. But... well... you can't exactly negotiate with these fuckers, you know? Rocks are by NATURE, kinda stubborn.

So he's sitting there. Buried. With what he's pretty sure is a sacred text digging into his side. When a... glowing? Mist? Shows up? Huh. That's new. They don't seem to have a very clear image of "Self". Yet it's crystal clear? Just not... PHYSICAL? It's more... code? He thinks?

TECHNUS! Get over here! And behave!

There is much cooing and delight from Technus. The baby is a marvel. A wonder! Danny waits patiently for Technus to get to the point.

Ah.

He would like to "go back". His Obsession is demanding it.

IS it now? You're what? Maybe a day or so dead? You've been busy, if you've already gathered enough information to make your case like this. Alright, let's hear it, little guy.

It boils down to this. His obsession in death is the same as his primary directive was in life. Protect Mr Stark. Which is especially difficult to do from HERE. Even MORE so when there is a known threat, coming too...

WAIT, WHAT!?

The Souls Stones back him up. Oh yeah. Thanos' a lil bitchbaby loser. He's trying to make Death fall in love with him. Or "balance the universe". Depends on the reality. Totally throwing EVERYTHING out of whack.

And? Look. Danny's job? Isn't to interfere if countries kill each other. Or even planets. Nor entire galaxies, as much as he'd like too. But when you get too "I'm messing with Entire Realities or all of a Singular Reality at once in the specific depart of Death and its subsidiaries" territory? THAT is his job.

Might not be a "I personally have to show up" issue. But it still IS very much his job at that point. He has to delegate. Order the appropriate steps be taken. Cause yeah, there may be countless millions every day of such instances? But it IS his job to metaphorically order the roads repaired and the building inspected.

Sudden MASS "immigration"?

That causes Lair disputes. Confusion. Too many ghosts in too small an area. And WORSE, if people start playing with Death Pillars? The Zone might get dragged into whatever nonsense they're up too! It's like children playing with heavy machinery! Put that DOWN! Cease! Desist!!

And then? Clockwork shows up looking Mildly Miffed(TM). O:> dear lord. What madness has he stumbled upon? Oh. Oh of COURSE. First the "balancing" dude and now they're going to be playing with time travel. THATS IT. Someone unburying me!

I'm gonna go menace some humans that might actually believe I'm scary! Frighty! Pack up and shine your armor! Your coming too! We're escorting the baby home then have a Talk(tm) with the local Grape Ceral!

@hypewinter @lolottes @mutable-manifestation @nerdpoe @hdgnj

#dp x marvel #dpxmarvel #dp x mcu

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mambodork · 2 months ago

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How do you pick colors? Do you have any tips for it, especially when making more complicated artworks with a lot of different colors?

Tysm for asking ! I'll use my recent art to show a little bit behind my process so its easier :3 note that I use Photoshop (I know, I hate it too but atp I'm already way too comfortable with it to change into a better software like CSP or something). Click on read more for the step by steps !

I usually put a base color underneath just to get the whole vibe of the drawing together and so it's coherent. It can be any color honestly but I like working with blue/orange/red the most depending on what I want,,, (photoshop also has a color changing feature so I can always change it midway).

I lay down all the base colors next, the brush I use to base color typically has pressure sensitivity that makes it transparent depending on how hard you press (???) i dont really know what to call this feature but that!!

I lay down base color lightly just to show a little bit of the base color underneath and join the entire thing together (everything is a bit opaquer in this particular piece cuz i wanted to rlly separate all the elements, Im usually much softer w it)

after i got the base colors down, I use blending mode layers like overlay, multiply, color dodge/add, etc to get down the lighting and stuff :3 I just love blending modes in general and use it a whole lot lol

after i get all that down, I start shading and adding details to things ,,, I use a soft/light pressure sensitive brushes to get main shading down and some lasso tool + airbrush aswell in certain areas,, Then i use a more hard/opaque brush to get details like doing cleanup and highlights. I normally do more on shading & rendering but I didn't do much on this particular piece cuz I couldnt be bothered lol, I won't really go down too much on my rendering process cuz this one don't rlly represent it well

My favorite part is to bring the piece together using adjustment layers :3 idk if other software/app provide this feature (tbh they probably do), but I love messing around with color balance, hue & saturation, levels, of the sort

That's pretty much it ... this post is already much too long so if you'd like little misc. tips and rendering stuff as well as brushsets, feel free to ask in my box again so I can hopefully make a separate post abt it !

#vale asks

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nordleuchten · 7 months ago

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Genuine Question: Was LaFayette truly a good person or has his portrayal in modern media simply served to romanticize him?

Dear Anon,

that is an interesting question to ponder, because it begs the question: What is good? Or what is bad, for that matter? I completely understand what you wanted to say but if we take the terms “good” and “bad” quite literally, we have to consider that people, now and then, are more nuanced then “good” and “bad”.

What I for example would consider as “good” in a person could be judged as “bad” by another person and it is difficult to speak in absolute terms when it comes to these matters. And you are absolutely right, La Fayette’s character has often been romanticized (and infantilized to be honest, but that is another topic for another day). The degree of romanticization is often dependent on the source material, its interpretation and the time when this interpretation was made.

La Fayette was a man who had his flaws and shortcomings – these were acknowledged by his contemporaries and also by himself, on occasions at least. Judging someone with a distance of roughly 200 years is challenging, especially if that person existed in a social system and a social class that no longer really exists in that form today.

So here is my take – I think La Fayette was a “good” man. He was a very affectionate father and grand-father, who absolutely doted on the children. Besides all his flaws as a husband, he deeply loved his wife and his letter after her death is truly heartbreaking! He was deeply invested in many social causes like women rights, (female) education, emancipation of enslaved individuals, religious freedom, reform of prisons and penal laws and a reform of government. He could not see all this causes through. He failed. He went about things the wrong way – but he very genuinely worked on these things and tried his best. Even his enemies respected him for his determination. He was very interested in personal glory and honour, to the point where people warned him and called him vain, but there was also always more to it. La Fayette had a good sense of humour. He was a resilient and loyal man who did not forgot when someone else did right by him.

La Fayette was very “human” and lived through times that allowed him to display both his strengths and his weaknesses. But there is only so much that we can assess about a person based on letters, wilted pages and stories. My understanding and perception of La Fayette changes continually with every new piece of information and while I tried to give as broad an insight as possible, I would advise you not to rely on my opinion (or anyone else’s) but to form your own judgement.

I hope you have/had a lovely day!

#ask me anything #anon #marquis de lafayette #lafayette #la fayette #history #french history #american history #these are always very challenging asks #but in a good way challenging

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romiiarts · 3 months ago

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One, OH MY GOD, YOUR ART IS SO BEAUTIFUL! I WANT TO INJECT IT INTO MY VEINS PLEASE!

two, how long does it usually take you to finish a piece of artwork? I've noticed you post in what I would call quick succession, and I really just wanna know how long it takes

And three, are fanfics based on your art allowed?

hii thank you so much!! 🥺🤍

well, it really depends on what the piece is about, if its fully colored, if its a comic page, etc like here are some examples for reference:

the longest one has 2 other pages in the same file so divide that by 3 lol but that's more less how long it takes me depending on what I'm doing! Also, I have a 5- months-queue of posts that haven't seen the light of day yet bc they go first to my patreon hehe 😭

As for the fics plss do feel free to do it!! I'd love to read fics inspired by my art!! it has happened a couple of time and its always an honor 🥺🤍

#ask

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cosmicbrowniebox · 1 month ago

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Darling, I

pairing: post ts!kuroo x Artist! gf

wc: I think like 1.2k

a/n:really enjoyed writing this after struggling alot these last two weeks mentally but I hope you guys enjoy this and let me know if you wanna know more about these two for future posts ^_^ also this grammar wise is gonna be so bad because I've been awake since 10pm and its now 1:38 pm and running on fumes

“Yn” Tetsuro called from the doorway just loud enough over the sound of her music playing in the background as she worked on a new piece for the JVA “Huh what’s up” Yn responded not moving from her spot at her desk the drawing tablet flipped on as the only source of light in the room since the sun had already gone down for the night “you should finish up for the night it’s getting late isn’t it?” He asked her, knowing she had been working on the new holiday promotional merchandise for the JVA and had been working on god knows how many things besides that project he had commissioned.

She nodded checking the time realizing it was already eleven pm “Jeez it’s already this late” she mumbled rolling her stiff neck whenever she got focused on her deadlines and Producing quality work for it she was like a train that never seemed to stop hell even faster than the bullet train sometimes depending how big the art piece is “how far have you gotten?” Tetsuro asked leaning against the doorframe it wasn't enough to completely see her drawing tablet with how she was sitting.

"I've got the base of it done I think it should be done by later tomorrow if I work all day on it so it can be on time for the deadline" she answered sliding over slightly as she motioned for him to come closer so he could get a better look “it looks amazing Yn I love how you did it and everything just looks so well done” he praised with that smile he always loved her art ever since primary school he always liked to see the things he drew and to read her manga panels in the school paper even when she gave up on drawing for years because she thought it was the right thing to stop because all her friends thought it was weird she put so much time into it until she got back into it for a contest that she entered with a girl who she shared the panels with.

“I'm serious Yn it's already so amazing” he added earning a sheepish smile from his girlfriend “i mean id hope so since it will gonna be shown to a crap ton of teens and others around the country” she responded looking up at him from the corner of her eye before looking back down at the tablet on her table after a moment of watching it deciding to click the save button before shutting down her PC setup in her office “alright let's get to bed its late isn't it” she told him sarcastically as she stood up from her desk chair shooing him out so she could go wash her face before they head to bed

“Yeah you've been held up in here all day” he quipped back following right behind her already in his pajamas for the night “that's what you say every time” she hummed standing in the doorway of their shared bathroom the faucet running

“Do you ever wonder what it would be like if we didn't have our careers?” Tetsuro asked watching her almost as if he was watching a painting he must have found breathtaking he liked to say she reminded him of a Renaissance painting sometimes especially when she was doing mundane tasks or working on things “i like to think i would still be in the art type of job but instead i would have pursued being a mangaka y’know?” she answered clicking open her face wash and putting some on her hand as she spoke

“Or maybe a teacher and I would have gone back to work at Nekoma” she added knowing that ever since she was young it was three things when it came to her art, history, and music she always thought it would be one of those places catching her eye in life.

never once did she think it would be graphic design though for most of her commissions besides when the JVA commissions her work “what about you?” she asked continuing on with her skincare as he deliberated beside her “probably still doing volleyball maybe or coaching” he answerd she knew in some ways he still wanted to play and go professional like alot of his friends did but he grew to love his job and the life he built but anything would be amazing as long as they were together thats what he always said when one of them felt real discouraged with something they had been trying to pursue in or on a specific project.

“Bet you’d be going pro or something if you kept with it” she said drying her face off from the extra water on her cheeks after a moment setting down the towel as she watched him back for a moment like it was a staring contest or something “eh who knows maybe” he hummed turing on his heel so he could go back into their bedroom “shut off the lights in there” he called out as a reminder knowing she had a habit of forgetting to turn them off at night

With a small click shutting off the overhead light in the bathroom she followed the hall back to their room knowing he was probably already in bed since it was a long day for them both but its not like long days would truly matter they would always still be by each others side no matter what and know stress was okay and that the other could help to try and lessen that burden

As she slid in beside him for the night it was like clockwork for her body the tense muscles and aches she had from the day just seemed to melt away beside him because she knew it was safe she knew that she would be safe with him just like she always was ever since junior high

“What would you thin about getting married one of these days yn?” tetsuro asked his chin resting on the top of her head as he held her close she must have seemed so confused with the little huh she made “id do it” she mumbled out as a response before adding “i mean id do anything with you tetsu your like my other half at this point” she added snuggling into him closer she wasnt wrong he really was like her other half the yang to her yin and the sun to her moon

She knew if he was to ask her it would be an immediate yes it always would be because god would she be a dumbass to say no to the rooster head he was as sweet to her as a bag of sweets he reminded her of home an at this point he was home to her he always had been

She would always feel at home listening to his heartbeat knowing he was gonna be okay and that nothing bad was gonna happen to him with how bad her anxiety got for no reason sometimes it was always comforting when she would get him all to herself for a bit even if it was just for the night.

#fanfiction #haikyuu #haikyuu x reader #kuroo x reader #kuroyn #kuroo x you #kuroo x y/n #kuroo x artist!reader #haikyū!!#haikyuu fanfiction #haikyuu time skip #kuroo ml #kuroo testuro #haikyuu kuroo

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sgrplmjnxxx · 1 year ago

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Hey fren, is there a possibility you could show us how you draw Fort Max’s big ass head? I struggle with the little overhang in the front - loveofbots

Waaa! Hello there! Im glad you asked and Im willingly here to help you with that!

Although,Im not a really an expert for tutorials. So please bear with me with some grammatical errors qwq

long post ahead!

Okay,so here it is: I. Angles and shapes

First off,you need to determine his head angle. I used some angles from the existing pics of Fort Max from MTMTE for this owo When you do,try to make a basic shape. In other words,draw a box. So when you draw a box,it should be look like 3D-ish like my illustration above. Fortress Maximus has a very Square-shaped individual and his head shape could vary in some angles and may inconsistent. (my brain is not brainging atm)

II. Drawing For drawing,now I picked the 3/4 angle because it's easy,lol.

I started sketching his head with a circle first and then proceed to add the box shape. The top of his head is not completely flat,but more like curved. But it won't be neccessary later on,I think? (It's just my liking when sketching tho qwq). Then you see a shaded part so it looks like 3D-ish,and I added a jawline and neck.

Next,drawing his face and neck. It didn't go the way the base looks like,but you could overlap on some areas if you needed to (such as chin,jawline,forehead,etc..). Btw,you can use the lasso tool and transform tool to adjust the angle for you liking.

Then,you draw a slightly elevated angular square for his brim.(similar to this lego piece,lmao). Also,you can add his side thingy-stuff (ii have no idea what are those called). I preferrably draw those things angular,but you can draw it straight up a rectangle and more easier.

Then add that little thing in the middle like most every cybertronian have. Again,repeat the same "Slightly elevated angular square" but its now a triangle-rectangle hybrid.

Also,try to make it look like buried within the brim. (It still depends on you if you want it on top or look pushed down)

I erased some of his forehead and jawline. And Ta-Da! This looks cursed af,but we're getting there! Final step is to add his antlers or horns.

I finally added his horns/antlers! his horns/antlers could vary in shapes too! some examples seen on the lower right,but ive seen more than that!

keep in mind that to flip/mirror the canvas if you drawing those so you can be aware if it looks weird

Add that smol half square between his helm and antlers

and we're almost done! added some details too You can also add those "shadows" on his eyes,like in the idw comics. Max eyes looks a bit small and weird,but it can be fix by erasing some parts to make his eyes looks better.

Finallly...Done!

I made some few minor adjustments for my liking.

I hope you find this tutorial helpful,this is my first ever tutorial i made. It may not be 100% percent accurate,but you get some ideas. Also,I really appreaciate that you asked me for this and it makes me very happy!

Also some bonus side profiles sketch i made last week or so:

Fort max,Inferno and Red alert

my brain is not entirely functioning since i woke up middle of the night and,decided to make a tutorial instead of staring in the darkness qwq

#ask #general-gh0st #tutorial #transformers #idw #maccadam #mtmte #lostlight #fortress maximus

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atlaculture · 2 years ago

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Hi, I love your work and was wondering if you've done a post breaking down Earth Kingdom clothing inspiration and what the pieces are called. I'm writing a fanfiction and having a hard time finding info. Thanks!

The thing about the Earth Kingdom is that it's the most populated and diverse of the four nations in-universe. Meaning that each area of the Earth Kingdom has its own unique flavor. Some places are based off of specific Chinese dynasties, others around the various ethnic minorities of China, and some are other Asian cultures entirely.

Ba Sing Se's aesthetic is based off of the later years of China's Qing Dynasty (1636-1912):

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Ba Sing Se Queues (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Zuko's Teashop Outfit (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Ba Sing Se Headdresses (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: The Dai Li (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Royal Earthbender Guards (tumblr.com)

Toph's family and background are meant to appear refined and wealthy so their look is based off of the later years of China's opulent Tang Dynasty (618-907):

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Toph’s Fancy Dress (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Toph’s Sleepwear (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Toph’s Hairstyle (tumblr.com)

Bumi likes to wear Chinese opera clothing and his character is broadly inspired by Lu Bu of the Three Kingdoms Period (220-280):

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Bumi (tumblr.com)

Kyoshi Island is Heian & Edo period Japan mixed with Ainu culture:

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Kyoshi Headbands (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Kyoshi Makeup (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Kyoshi’s Hair & Clothes (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Kyoshi Warriors Uniform (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Kyoshi Islanders Fashion Pt. 1 -... (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Kyoshi Islanders Fashion Pt. 2 -... (tumblr.com)

When Zuko and Iroh are on the run in the EK, they encounter a Vietnamese town and a Korean village:

The Cultures of Avatar: The Last Airbender | Cultural Anatomy: “The Swamp” Episode (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Architecture: Song’s Village (tumblr.com)

The tribes of the Si Wong Desert are North African crossed with Mongolian:

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Sandbenders (tumblr.com)

Chong and Lily (Secret Tunnel Hippies) wear Tibetan and Hmong clothing, respectively:

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Chong (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Lily (tumblr.com)

The refugee family with the pregnant wife is inspired by Yi people:

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Serpent’s Pass Refugees Pt. 1 (tumblr.com)

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Serpent’s Pass Refugees Pt. 2 (tumblr.com)

And, with the exception of culturally isolated areas like Ba Sing Se/Si Wong Desert/Omashu/Kyoshi/Foggy Swamp, most men in the EK wear their hair in Taoist topknots:

The Cultures of Avatar: The Last Airbender | Cultural Fashion: Earth Kingdom Top Knots (tumblr.com)

So the sort of clothing your characters will be wearing in the EK depends on where in the country they are or are from. If you plan on inventing a new setting that takes place in the Earth Kingdom, try to choose a culture and period that reflects the mood or theme you're trying to get across.

#replies #earth kingdom

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mordeiswrld · 2 years ago

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hello! sorry to bother but could you maybe do crimson knolastname (helluva boss) x reader hcs?

OFC!

Requested?: Yes

Fic Type: HCs

Time Started: April 21, 8:56 PM

Character: Vrimson Knowlastname x GN!Reader

Admin: L

Crimson looks like the type that’ll either try to hide or try to let you help with his mafia work, depends on your personality like if you’re shy and quiet he won’t tell you anything and keep his personal life and business life seperate but lets say you’re hot-headed and don’t mind getting your hands dirty (i mean you’re in hell, not much stopping you) then he’ll maybe start to try and get you to do things for him (if you want to of course. He may be a hardass mafia boss but he knows when and when to push things, well he does now at least)

Will bring you to expensive restaurants and get VIP sections since he’s trying all over again (RIP Mrs.Knowlastname) he’s taking his time with you while also trying to get a feel of how to have a healthy relationship

Meeting Moxxie is most likely gonna be a no-go since he has a one-sides rivalry with him

He’s only soft with you. Since he has a hard time being nice and gentle it’s gonna take him a while to get to this stage but once you break down the walls he put up best believe he’ll try his very best to treat you right even if it’ll take some practice

Touch starved like a mf. He’s never been used to physical affection so that’s also something he’ll have to get used to. Just slowly try to ease him into it and he’ll slowly start to appreciate it. But do it in private since he has a reputation to uphold.

Kisses with Crimson vary. It coukd go from an innocent peck to a full blown makeout in like 2 secs depending on how long you two have been together. He knows when and where things should be getting steamy and when to keep it low profile

Hugs are something he cherishes from you since he’s always busy and his family has been shredded to bits so he’ll make the most of it with you

Cuddles after work? Immaculate. He’s old and there isn’t much he can or wants to do in the house so cuddles are the next best thing but like everything else you have to ease him into it

This man is almost like the embodiment of toxic (Chaz Thurman ties with him on somethings) but he’s in it for the long run all you gotta do is hang in there

He doesn’t get jealous as much as you’d think he would. Like yes he’s self-confidence in relationships has depleted since his old one ended miserably but it’s not so low that he gets jealous over every male that looks your way. But if he does get jealous he’ll just send one of his henchmen to handle his dirty work for him

Dates arent that frequent since he's almost always busy but when they happen they are always well put together and well thought out

Big spoons all the way, but on occasion he’ll let you hold him but only when he’s too tired to move from whatever position he’s in

Def the type that back hugs you and sometimes even picks you up from behind just to scare you. He won’t scare you too bad but there will be times where he just wants to fuck with you

Loves giving forehead, hand, wrist, up the arm, thigh, etc kisses since hes’s ✨ Romantical ✨ like that

He smiles a lot more around you. A genuine smile not the kind he gave Millie when they met

Stares. A lot. He can’t even figure out why you’d wanna be with him, whether or not you know about his past or not he just can’t piece together how he managed to date someone like you

Always attends to your needs. He may act as if he’s annoyed by it and will call you “needy” he’ll either have his guards do it or he’ll do it himself. He’ll complain but he won’t ever leave you unsatisfied

Spoils you. Want that laptop? Already shipped to the house. Want a new car? Already in the garage. Want some kind of drug? Got the best of the best just for his partner.

Nicknames really depend. He may base it off how you act or how you look. But Sugar, sweetcheeks, sweetheart, love, darling, and hot stuff will be his go to’s

A/N: sorry its so short and terribly written...had a hard time thinking of things and honestly i have brain fog so i can’t really think fr and also SEVERELY unmotivatet but Ill redo it and or add some things in the future but enjoy!

Finished: April 26, 9:42 AM

#crimson knolastname #crimson x reader #helluva boss crimson #helluva boss x reader #crimson helluva boss #helluva boss

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fogdraws · 3 months ago

Text

A Scandal at Baker Street,

An ACD Sherlock fanfiction oneshot based on "A Scandal in Bohemia".

"He could not help but bear the impression that the pair held a deeper meaning behind the gazes and touches they'd shared so earnestly. Looking out the window and to the repetitive London landscape, he decided not to venture further into his poderings; he certainly did not wish to murk the image he had of the detective — nor the doctor’s — with such assumptions. Soot and ash from the city filled his nose as he let sleep take over his mind; now, he could only hope."

Full piece under the cut!

He was nervous. He should not be, but when your whole reputation (and relationship, though the latter concerned him far less) depends on this, it may be understandable to fret a little. So yes, he was anxious as he brought his hands to adjust the mask that covered the upper half of his face — a measure he took to protect himself; today he would be Count Von Kramm, nevertheless.

A plaque, in which was written “Baker Street, 221B”, came into his vision just before the brougham came to a halt. The modest brick facade was unassuming, though the name it bore was whispered in both awe and reverence across the continent. From what he was told, this apartment block — quite underwhelming, if he was to be truthful — was home to a brilliant, energetic man, one that would have (or find) the answer to any enigma given in a manner no one else could compare to. He hopes that’s true, for he had come from a long way, Germany, just for this.

“Come in!” A voice clamored from inside the door when he knocked it. A sweet old lady had escorted him inside the block. Once again, supposed Von Kramm adjusts the black mask, pushing its tails to tighten the hold — it was rather loose and annoying.

Upon opening the door, he was met not by the lone figure he had anticipated, but by two men: one standing tall and lanky, dark hair messy and looking quite in need of a trim; and the other, on a heavier build, in a much more neat fashion, sat and with a notebook in his hands. That defied his former expectations — the matter was of the most private sense, not meant to be shared to noone more than the detective. Both of them looked at him, expectantly.

“You had my note?” He didn’t really know which one was supposed to be Sherlock Holmes. Both of them seemed to feel at home. “I told you that I would call.”

“Pray take a seat. This is my good friend and colleague, Dr. Watson, who is occasionally good enough to help me in my cases,” the fair-haired gentleman brightened up to that, giving a lighthearted chuckle. “Whom have I the honor to address?” Funny, he thought, that he kind of expected to be the detective, the more preen one.

“You may address me as the Count Von Kramm, a Bohemian nobleman. I understand that this gentleman, your friend, is a man of honor and discretion, whom I may trust with a matter of the most extreme importance. If not, I should much prefer to communicate with you alone.” He would not let himself be vulnerable.

At that, Dr. Watson made it as if to stand up, but was quickly caught by the wrist by Mr. Holmes’ own hand. Although initially he looked a bit distraught, the doctor quickly looked at the other with… something tender in his eyes. With gentle yet firm pressure, the tall man guided his companion back into his seat, their proximity leaving Von Kramm distinctly uncomfortable.

It was a quiet exchange, nothing more than a fleeting gesture between the two men, but it left him unsettled, as though he had intruded upon a private understanding, one far deeper than he could comprehend. In their shared glance, he felt not merely a lack of privacy, but an absence of control. Like he shouldn't be there.

Mr. Holmes didn’t move, leaning towards and looking directly at the doctor, both his hands firmly keeping the wrists of the fair-haired gentleman on the armrest. “It is both, or none,” the consulting detective said, low and slowly. Not looking at Von Kramm, as he should, but at Dr. Watson, still — much like the words were directed to the latter, not the former.

With a swift movement, the detective was upright again. Dr. Watson shifted in his seat, tangling his legs so they were crossed — the notebook, long ago forgotten on his lap, was at his hands again. “You may say before this gentleman anything which you may say to me,” Mr. Holmes affirmed, as if he hadn't just done the strangest thing.

He shrugged his shoulders, “Then I must begin,” he started, “by binding you both to absolute secrecy for two years; at the end of that time the matter will be of no importance.” After this display, he's not sure it's possible to separate the pair, even though it would be far more preferable to deal with the detective alone.

“I promise.”

“And I,” Dr. Watson complied.

Once again, it felt much like the words weren't meant to him, but to one another.

The doctor scribbled something on the small notebook of his and, as Von Kramm made to look at it discreetly, the fair-haired gentleman slightly covered the paper.

“You will excuse this mask,” he tried to ignore the pair’s mannerisms and the implications that came through his mind. “The august person who employs me wishes his agent to be unknown to you, and I may confess at once that the title by which I have just called myself is not exactly my own.”

When he told mr. Holmes whom the detective had the honour of working for, he was met with the utmost disdain, raising annoyance upon himself. The man had dared to close his eyes and relax in the nearest armchair, striking a most dramatic pose. Dr. Watson stared at him out of the corner of his eye. “I was aware of it,” the detective said, and then, “I was also aware of that,” when Von Kramm tried to emphasize the absolute import of the ordeal.

Should this man be the best detective of Europe whole, he didn't wish to see what would be of the lesser ones. Von Kramm looked over to the fair-haired gentleman to express his indignation; he only had attention for the detective, however, legs still crossed. Upon studying Dr. Watson's expression for a second, the look he saw in his eyes was one of badly-contained longing. Von Kramm, then, avoided looking at the doctor again.

“If your Majesty would condescend to state your case,” the consulting detective remarked, “I should be better able to advise you,” as he slowly reopened his eyes, a look of impatience stamped on his arched eyebrows. Much like he was bored out of his mind; this man was getting onto his frail nerves.

Then, what mr. Sherlock had just said dawned on Von Kramm, drawing out a sharp inhale out of himself. He sprang up from his chair. It would do nothing now, to pretend his identity. This man knew it!

In a fit of rage, he — the King of Bohemia, had now been caught — tore off the mask that had irritated his face for the whole day, tossing it upon the floor. “You are right,” he raised his voice, “I am the King. Why should I attempt to conceal it?” The doctor appeared to be surprised too. And never did he seem to stop writing words in that notebook of his. “Why, indeed?” Mr. Holmes murmured, as if the king wasn't ready to yell and shout.

Forcing his temper to subside, the king proceeded to tell his story. Mr. Holmes listened in a calm manner, making the effort of opening his grey eyes every so often, only to remark something to Dr. Watson with a quiet smile on his lips and close them again. To that, the fair-haired gentleman always nodded in contempt or flatter the man's deduction abilities. Their dynamic seemed stable, comfortable. For the whole ordeal, the detective constantly yawned and feigned disinterest; but everytime the king convinced himself that the man wasn't listening, he was surprised with the clever wit of an observation that couldn't be made out of disattention.

Somehow, the king had grown quite accustomed to the way mr. Holmes worked. After they had discussed the money involved — Dr. Watson's face, when the detective opened the chamois bag full of gold he'd received, had been absolutely remarkable — he was quickly escorted down the stairs and out the door by both of them. The mask was almost forgotten, but the doctor gave it back to him at the last minute.

“Then, goodnight, your Majesty, and I trust that we shall soon have some good news for you.” Mr. Holmes said as he opened the door. The brougham stood patiently for him at the side of the road, as it should; the king entered it as agile as he could, not to raise any opinions from the passersby.

“And we must have a good night, Watson,” was the last thing he heard from the pair. As for sight, mr. Holmes’ lips appeared to form a small smile as he looked dr. Watson from head to toe, whose hands went somewhere near the detective's waist as the door was closed shut.

He could not help but bear the impression that the pair held a deeper meaning behind the gazes and touches they'd shared so earnestly. Looking out the window and to the repetitive London landscape, he decided not to venture further into his poderings; he certainly did not wish to murk the image he had of the detective — nor the doctor’s — with such assumptions. Soot and ash from the city filled his nose as he let sleep take over his mind; now, he could only hope.

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lieutenantfloyd · 1 year ago

Text

When Duty Calls Part 1 | Cyclone x Reader

Word count: 1.9k

Summary: Your return home brings you inner turmoil, prolonged typing bubbles, and what may turn out to be a chance to mend what you broke.

Warnings: mentions of anxiety, a lot of internal thoughts/monologue, implied non-platonic feelings (if you squint).

a/n: This took a bit longer to get out than I’d hoped, but I’m so excited to have gotten the ball rolling!

Read on AO3

In your experience, one of the hardest parts of being back stateside is the noise. Both the quiet and the loud.

Your former home — An aircraft carrier somewhere in the middle of the Pacific — was by no means quiet, but each sound, each movement, each person, had its purpose. the low hum of radio chatter or the sound of planes taking off overhead had become a strange comfort to you. You were one of the lucky ones who quickly found where you belonged amongst that noise. Now after years spent painstakingly carving your name into the Naval history books, you were far from just another officer. And yet, in some twisted way, that glorious reputation of yours is exactly what brought you back here in the first place.

Exactly 23 hours ago you were still stationed on that aforementioned aircraft carrier, completely unaware that you would soon be summoned and informed — albeit with more eloquent verbiage — that you were to pack your things and head back to TOPGUN. A thousand different questions brewed inside you, but you were well aware that the Navy has never been the place to voice them. Instead, you honored each following set of instructions with nothing more than a simple "Yes sir, no ma'am".

The subsequent hours were filled with personal chaos and three different modes of transportation. Luckily, not much could phase you at this point. At least not enough for anyone to pick up on your external cues of panic. Contrary to the aviator stereotype, you liked to think of yourself as level-headed with a strong preference for flying under the radar, both in a literal and figurative sense. You'd weathered through everything the last 24 hours had thrown at you without so much as a snide remark. You kept your calm when the airline briefly lost your single piece of checked luggage. You even brushed off each lingering stare and every all too frequent ask of "So, Is your husband/brother/father/next-door neighbor in the service?". Yet, approximately three and a half minutes ago, something in you started to crack. Logic told you that this was just your nervous system coming to terms with what the next several weeks would entail, but an increasingly large part of your mind knew that that was only half the story. But seeing as you currently found yourself frozen in the back of your Uber, gripping the door handle as if your life depended on it, these facts were neither here nor there. As the latest wave of anxiety runs its course you suppress a shudder and call on your now-sapped willpower. Logic once again tells you that fresh air helps in these situations, so you force your pointer finger out and roll the window down. You hold the button until the window is right above halfway down. Just far enough to let the bright San Diego sunshine in while still allowing you to lean your head against the cool glass. After a few deep breaths, you run your tongue along the outside of your lips. The air is laced with the familiar taste of sea salt. If your memory served you right, you were just under a mile from the ocean and no more than three from base. The thought had barely crossed your mind before the pang of countless different emotions hit you. You silently curse your faultless sense of direction. In sudden need of a distraction, your free hand reaches into your bag and pulls out your phone. You blink away the dryness in your eyes before shifting your attention to the small screen which only takes a halfhearted tap to flash to life. You swipe through your notifications before tapping on the message that's been lingering in the back of your mind since the early hours of the morning.

I'm assuming you've been made aware of your latest assignment. received 7:13 am. — followed by — We hope your trip back goes well. received 7:26 am.

I landed about an hour ago, you text back. Headed home now.

It didn't surprise you that Warlock would be the first to reach out. Given his rank and location, he probably knew all about the mission. Plus, if you knew anything about the man, it was that he's always been the diplomatic type. From the stories you heard of their younger years, a part of you has always wondered if this is why his friendship with Cyclone worked so well.

Speaking of Cyclone, you click the back button and select his contact. Your last conversation with him — dated just one day before your deployment — quickly appears. God, had it really been almost five months since you last spoke? At this revelation, you sit staring at the screen for a few beats. You knew him and his personality far too well to expect him to welcome you back with open arms, but that didn't make the radio silence hurt any less. You want nothing more than to reach out, but with a shaky breath, you remind yourself that he's a horribly busy man with fewer personal relationships than you can count on one hand. However, this doesn't stop a flash of sadness from coursing through your body.

Exiting the text thread, you click on the only other new message. It's from an unsaved number and its contents inform you that everyone who's been called back is meeting up tonight at the Hard Deck. Just as you are about to send back a quick "thank you. Who is this?", something else pops into your mind and grabs your interest entirely. You quickly back out and tap on Warlock's contact. You read his second message again, Then at least five more times after that.

We hope your trip back goes well.

We?

You weren't one to get into the semantics of things, but the ambiguity of his word choice hung heavy over you. There was a possibility that he was innocently referring to himself and his wife. Yet there was an equal, and far more electrifying, chance that he was talking about himself and Cyclone. It was no secret to Warlock that the pair of you were, at least at one time, immensely close. That familiar itch returned to your fingertips, though this time you feared it would be here to stay. Over the last five months, You've been down this path countless times before. Yet each time it got harder and harder not to simply dial his number and ask about his day as if no time had passed at all. Reminding yourself that the chances of him picking up were firmly in the negative, you looked from your phone entirely and instead redirected your sights to the world outside. As you look up, The car rounds one last corner and the familiarity of your surroundings kicks into overdrive. The lump in your throat grows as both the ocean and your house come into view. Your heart swells as you realize your neighborhood hasn't changed a bit. You were fully prepared for your homecoming to be emotionally taxing, but what you hadn't prepared for was just how right it would all feel.

You come to a stop at the curb directly across from your house. You thank the driver as you exit, and a moment later your feet hit the concrete. Your hands are surprisingly steady against your luggage. The car slowly pulls away. You are left standing in your yard, phone in hand, staring up at your long-established home. The walk up the driveway is one you've made at least a thousand times. And something in you knows that it's the bittersweet familiarity of it all that finally allowed your one inescapable urge to take hold.

The rational side of your brain — the one you should be more inclined to listen to in this situation — told you that he's probably terribly busy doing all those terribly important Vice Admiral things he spent far too many hours a day doing. But the emotional side — the one that above all else, won't let you forget your history together — told you that all you really wanted was to hear his voice again. Or at very least get a few words of blunt (and often trenchant) encouragement. Your suitcase rolls over polished hardwood as you close the door behind you. The only thing you're greeted by is a stale silence. Your friends in the area had been kind enough to stop by while you were gone to ensure remained in working order, but that didn't make the stillness any easier to swallow.

Surely there's no harm in simply reaching out, right?

It was in that moment, standing with your back against the front door, that you hoisted up your white flag of defeat. Almost instantly your fingers were fast at work typing out your message before your conscience could reckon with how bad this idea was. Your words of choice were innocuous enough, yet you feel nothing but anguish the moment after you hit send.

Hey there. I know it's been… a while. You probably know I'm back in town on orders. If you have the time, I'd love to catch up. Sent >1min ago.

You kick your shoes off with a frustrated huff and immediately head for your bedroom. For what you lacked in the typical aviator ego, you made up for tenfold with split-second impulsiveness. On the bright side, you at least had the sense to leave the "I miss you so bad please respond" part unsaid. It's a short walk, and you toss your phone onto your bed once you're there with the full intention of taking a quick shower. Only, your phone lands face up. Leaving you watching in horror as your still unlocked screen proudly displays the typing bubbles on his end slowly appearing and disappearing.

Somewhere between bolting back out of the room and spending 45 minutes under the ice cold water coming out of your shower head, you pulled together a crude course of action. For the duration of your time here, you will do nothing but keep your head down, execute the mission, and be the Navy's perfect little flying angel. Somewhere between the lines of the damp post-it note you jotted this down on are the words "and no more attempts at reconnecting with the people you left in the past.". though even you know that even your best attempt at following that step will wind up unavailing at best. Post shower and with a slight semblance of a plan in place, you were already starting to feel like yourself again. Like every other mission, your ability to execute the plan would make or break you, and If the secrecy surrounding why exactly you were called back to Top Gun was anything to go off of you would have to be entirely focused and at your most cutthroat.

Exiting your room, you made your way to the front door where you quickly pulled on your boots and grabbed your keys from the dish in the entryway. The route from your house to the Hard Deck is one that's permanently etched into your mind. This wasn't the time nor the place to be making friends and in all honesty you wanted nothing more than to stay in and order takeout. However, you knew that you needed to scope out your competition as soon as possible.

You check the entryway mirror one last time before turning the knob and passing the threshold. You square your shoulders as you make the short walk to your car while also doing your best to ignore the growing feeling that the first of many wrenches is about to be thrown at your freshly made strategy.

Taglist: @luckyladycreator2, @katesmadness, @natasharomanoffisbaebby, @nobody7102, @idiomaticpunk, @thebeckyjolene, @paintballkid711, @simpledyiing, @barbiewritesstuff, @bbooks-and-teas, @starshipfantasy, @saramaple, @marchingicenotes7, @bayisdying, @princessofglitterland, @katesmadness, @shakira-sasha, @xoxabs88xox, @nyx2021, @qardasngan, @fanboyluvr, @mrsjaderogers, @bellamy1998, @alexxavicry, @madamemelancholysstuff, @autumnleaves1991-reads, @dozcan123, @nani-kenobi, @noxytopy, @accio-boys, @the-winter-marvel33, @justameresimp, @abaker74, @starlightmoon2020, @comfortzonequeen, @flrboyd, @heyitskay-21, @kmc1989, @kkrenae (let me know if you'd like to be added!)

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