#sort of like an anti-hero and anti-villain maybe?

[annoying--moth]

New ship dynamic: Mean Hero x Nice Villain

[skellizo]

Rewatching some dsmp and other mcyt stuff and fuuuuuuuck if Tommy were to play a villain like role or something akin to his Patient Zero character I would be watching doesn’t matter what server but give Tommy the freedom to write a villain character and I know that he would hit that shit out of the park

[nenoname]

Gravity Falls DVD Commentary Highlights

(just a huge, and I mean huge, dump of random quotes that stuck out to me, which I sorta separated into characters+their relationships and it's probably gonna be obvious that Stan is my fave lmao

I dunno how to make this legible for anyone but whatever, just take all these rando character tidbits. Stan Twin pranks! Sonployee essays! The concept for a post-Weirdmageddon episode that Alex insists is just too miserable but I want it anyway! The Pines family making me cry!)

Stan

"We love the idea of Stan [in Boss Mabel] having a minute to uh, having a context where we want to see him be his worst self and seeing his big brash personality in like a setting that everyone can understand, because the Mystery Shack is a little bit ungrounded because he's in his world of his characters, but seeing him out in the outside world is funny weird."

We really enjoyed the fact that he's as awful as ever and he's rewarded for it. We like those anti-morals where Stan uses his terribleness to succeed incredibly well.

I think it was a little hard for people to understand in the writer's room at the beginning of the series was that, even though Stan is following a lot of these tropes of being a miser, he's not grumpy. Like he actually loves being himself. He really revels in it like even though he's got some kind of sorrow inside, his kind of day-to-day like he's more about just the uncle who loves to hear himself and make dumb jokes than he is somebody who's mean or cruel or cynical per se.

The [NWHS] storyboards managed to make Stan this awesome action hero while still keeping him Stan. Like I like the fact that he steals a wallet in the middle of it. He steals a wallet, he smashes somebody against the wall, he sasses him but he also has this just great Inception moment. And it's because we're building to a big question about “who is Stan?”, I felt a moment of seeing him be kind of awesome further increases your “who is this guy?” He keeps going back and forth between like “oh geez my back” and you're like “all right that's the Stan I know” and then like “whoa, he just did an awesome jailbreak! Is he some kind of super villain? Who is he really?

There's more of Ford in Stan than I think Stan realizes that I think only comes out in certain moments.”

Why did Stan keep a clipping of himself titled “grifter at large”? I think he thought he looked cool in that picture. “You know I kind of have a Clint Eastwood look in this grifter at large photo. I think maybe I'll use this as an About the Author one day. I gotta hold on to this one. You know what, I'm a criminal but I'm a nostalgic criminal! Loving the past is my greatest crime now!”

I know how Stan feels in this [Principal talking to his family] scene, when somebody comes in and says like “You know what? There was a race you didn't know you were running and you're already behind, way behind.” 

And you know even though Stan is a guy who looks like he's having a fun time, I always, in my gut, thought of him as somebody who is a huge well of sadness, a loss of human connection. And that need to please, that trying to get laughs from the crowd and constantly telling dumb jokes and you know putting on a big show in the Mystery Shack, he's trying to get from them the affection that he never got from his family and lost with his brother.

Stan has been waiting for years to have a reunion with his brother. He's always felt like a screw-up. Stan once again had an idea of how he thought things were going to go. He thought that his brother was saying “I need your help” for the first time. He's going to go up there, they're gonna have some drinks, they're gonna catch up and instead he ended up shoving his brother into another dimension and running out of food and money. It's sort of his worst nightmare. But this was Stan's entire character, from the very beginning of the series, was built around this idea that he's living with this tragedy. He's a guy who outwardly seems like he doesn't appreciate family but in fact wants it more than anything in the world and feels like maybe he's not worthy of it and would do anything to prove that he is.

Seeing Stan figure out what he's good at felt important to me. Like he's never been good at anything in his life and he makes a stupid hokey joke and it suddenly turns into a profit. I felt like without [showing how the Mystery Shack was created], I was missing something and understanding why he would do this, how this would be the solution to his problem.

We would like the idea that Stan appears to win through dumb luck, that it's sort of Intelligence versus Guts but Stan wouldn't actually bet everyone's life on a dice roll. He's a cheater! At the end of the day, I believe Stan has been thrown out of Vegas for counting cards and for weighing dies and I believe he could con his way out of any game, particularly for an obnoxious wizard like this. The idea that Stan would gamble everyone on pure chance is like no. No, he's got a plan. This is the guy who escaped prison using gravity leaps, he's got a way out.

The one big thing [The Stanchurian Candidate] does is really highlights Stan's inferiority complex compared to his brother. Part of what he's doing is he's trying to be an important man here and this episode is actually a pretty good setup in many ways for Weirdmageddon Part 3. When we see Ford they're all going on this rescue mission to rescue Ford and this episode shows you just how much Stan wants to be the hero like the reason that he can't shake Ford's hand when they're in that circle.  The cold open of this where he sees everyone loves Ford and now that Ford's back, he's the best. Stan's like “well, how about I run for mayor!” It's just to boost his ego and make him feel better about himself.

Dipper and Mabel

“Straight man protagonists are really hard to write because every other character had a comedic hook. We understand that Soos is kind of this weirdo, his brain is in another place. Mabel has this exuberance and sees the best in every situation and is very creative. Stan is a crooked conman. Dipper is… the normal guy and a character like that can often feel like they don’t have agency, start to feel just reactive.

Waddles is Mabel's only love that lasts the summer. Mabel is very prone to love at first sight and Waddles is able to love back with Mabel's degree of love.

[In Sock Opera] Mabel's in love with Gabe, Dipper's in love with the Author and they're both willing to do something crazy to get get closer to that thing

There kept being layers of adjustment to make it, “okay what would it take to get Dipper to make a deal with Bill?”  1: He would have to not understand the rules of the deal. He's been tricked, he thinks he's just giving a puppet, he didn't know was himself. Classic genie rules, you get what you wish for in a way you didn't expect.  2: There's a little ticking clock that just started, which if he doesn't do it by now, he's gonna lose all this.  3: Bill rightfully points out that Mabel has been kind of not sacrificing for him and he maybe needs another ally right now  4: He was sleep deprived and actually you'll notice that Dipper blinks right before Bill arrives and that's our way of suggesting that that countdown might not have even existed

I think Dipper and Mabel are of equal exact intelligence but Dipper's insecure. He sees his accomplishments as a way to make himself better and thus is motivated to focus on things that are accomplishment type things. And Mabel is very confident and likes having fun and when she's having a good time, she has a little tunnel vision for the people and the things around her. That's one of her biggest flaws. She's actually really, really sweet when she notices and understands your pain but not when she's doing a bit, when she's doing a scene, when she's doing a gag.

Ford

Originally [the fake Author] looked a little bit more like an oddball wacky inventor and I felt he had to be pretty idiosyncratic. There's certain color things about him you'll notice. He's more or less got the color scheme of the Journal, you know maroons and golds, so that you kind of feel instinctively like maybe that's him. A lot of these motifs though we would end up using in Ford's design, as well the gloves and the coat and all that but much cooler later on but preparing you, it's Ford Lite. 

Now this is there's no logical reason that Ford would break [the warnings about the portal] up into all these books this way but up until this point he's been shown as this sort of all-knowing mysterious Puzzle Master that it felt appropriate, even though it's not logical.

It works for the storytelling so when Ford wrote that, that's when he was super sleep deprived. He realized that Bill had betrayed him, he was starting to have a hard time differentiating between fantasy and reality, he was losing sleep and scribbling all sorts of lunatic serial killer looking stuff about the end of the world.

In Time Traveler’s Pig, we see what should be a young Stanford Pines even though again, the design's a little off but we knew big sideburns, bushy hair. Although that Stanford looked a little bit more swole than this guy and that's one of the what we thought were very subtle clues in season one that helped a lot of fans figure figure everything out way too soon.

[Using the memory gun on the agents scene] needs to show that Ford's really awesome and so we could get rid of the agents and show that Ford can pretty much handle anything that Stan can't and also call back to our memory ray all in one.

There was a lot of fan speculation when we first met Ford. Generally when television shows introduce a new mysterious character late in the game, they turn out to be a villain like 9 out of 10 times. They turn out to be a villain or they're there to get killed off to show the stakes of something and like we could have made Ford evil but I always felt that that would be less interesting. The point that I was trying to get to is that Stan and Ford had this relationship that fell apart and it was both of their faults and I thought that if I'm Stan, I'd be more frustrated if Ford is actually a good guy. It would drive me insane if he's pretty reasonable, pretty rational, better at me than everything.

So we've flirted with this brief moment where it seems like he's a villain and we worked really hard to make it so that like his eyes are being covered by the reflection of the light. His dialogue is ambiguous enough here that for a moment you believe what Dipper believes, which is “maybe he's possessed by Bill.” You just saw him shaking Bill's hand, what is he supposed to believe?

I like that Ford has this photo with him, he had for a really really long time all the way through multiple dimensions. And he's probably told himself- I almost imagined if McGucket found that photo in his coat while they were working on the portal or something, like “What's this here?” and Ford would say “oh yes, that's a photo of a very important moment! That's when I…  that's when I first decided I want to be an inventor!” There would be no reference to the real reason he's keeping it. “This is me and my brother.” It would be like, “oh yes I was thinking about science as a horizon, a frontier to reach towards– you know like a boat, like a ship, like science! It's about science!”

Soos

You choose family. That you create over the course of your life and if that somebody earns being your family, like the Mystery Shack. These kids and Stan, they’re Soos' family and he's happy about that.

I feel like Soos gained something out of [Blendin’s Game]. He gains the knowledge that like “I'm tired of thinking about this man who I'm missing, who doesn't care about me. I'm going to concentrate on the people in front of me, the people that are my true family.”

Soos is a fan of the show even though he's in it. He's a big fan of Gravity Falls and [NWHS] killed him.

I always knew what I wanted Soos’ end to be Soos running the Mystery Shack. I imagine that Soos is actually way better at giving tours than Stan is because he loves all that stuff truly and he believes it. That's part of the difference. Stan’s like “um, all right suckers, this stagnant puddle is the befuddle puddle!” while Soos is like “yeah, one time I looked in there, I think i saw like a cyclops dude. Like, I really think I saw one! Like it might have been a reflection combining my pupils, but like?” and people are like “Whoa, really??”

McGucket

They hired a bunch of people and then they erased their memory. That’s my explanation for why there's like such amazing inventions that would take whole teams of people. McGucket secretly hired a number of contractors and erased their minds. Like I think of McGucket as being like a really sweet nice guy completely in over his head who just like “oh well, once I've erased one guy's mind, I gotta erase ten more guys’ minds to cover it up” and it just sort of builds into like “I guess I'm kind of this kingpin of crime and I'm starting a cult I didn't mean to. Whoopsy daisy!”

When we get to Ford and see their backstory and see their relationship, it just makes all the stuff that happens with the portal and what happens with Ford and all that more poignant that he had someone there who was not only his friend but also a voice of reason and telling him to stop and that he wouldn't listen to him, as opposed to Ford being down there on his own with nobody to bounce off, anybody to say “hey wait a minute, is this a good idea?”

“McGucket was the assistant and he was maybe this assistant who was sort of put upon and Ford kind of brought a college buddy together with him. You know Ford as somebody who lost Stan, and even though he rejected his brother, he kind of needs that other person and he tried to find that in this kind of sweet prodigy and he just pushed him too far.

[The test scene] is meant to show sort of what it was that McGucket needed to erase, what it was that drove him to madness. It was partially seeing the Nightmare Verse and the way it messed with his head and also partly just realizing that this thing has apocalyptic consequences and he doesn't want to be a part of it. And if he can't destroy it or talk Ford out of something, he can forget about it.

Because If Ford's weakness is pride, McGucket's weakness is weakness. He's got a kind heart and he can't stop people, he can't destroy things. I mean he should have basically knocked Ford out with a wrench and take this thing apart piece by piece. He's the one who understood how to build it but I think he's kind of a follower and I think he's the kind of person who could get suckered in by a cult leader. He’s the kind of person looking for instruction and he really respects Stanford and can't bring himself to uh, he's like “I just got out of a bunker! I don't want to go work for another guy down in another bunker! This is my third doomsday cult this year!”

Stan and the kids

Stan and Mabel have such a different life perspective it seemed natural that at some point they would get to a major conflict

Seeing Grunkle Stan and Dipper bond like, I sort of believe that both of them are bad with women and both of them would rather believe there's a giant conspiracy than that they have they just can't get ladies 

Can this idea about Mabel's relationship with Waddles actually reveal a rift between Mabel and Stan where Mabel and Stan actually get along pretty well in the series you know? When they they're both such strong stubborn personalities that when they conflict, they conflict hard like in Boss Mabel. But this idea that Waddles is sort of a metaphor for what Mabel loves and Stan loves Mabel but he doesn't really think that anything she thinks is necessarily smart or right. He loves her like “guys she's my sweet niece but she doesn't know anything you know? She doesn't know anything about a pig” She forgives a lot with Stan but like Waddles sort of represents like the purity of her deepest love and the idea that Stan would threaten that is genuinely a shock

In the previous season it ends with Dipper giving up his journal and there was a lot of argument about “oh is it lame if he just gets his journal back?” Another thing we struggled with, we knew that Stan knows the importance of this journal he wouldn't give the journal back to Dipper so it was a bit of a convolution we'd written ourselves into a corner. We wrote ourselves out, we said “okay he's photocopied it. he's giving it to Dipper because he knows that Dipper's really precocious and he'll never stop asking.”

“We knew that we wanted everything to come to a head when the kids are going to discover Stan's secret and they're going to discover it in such a way that they only get little bits and pieces and they have to decide for themselves based on the limited information. Is Stan's a good guy or if he's a bad guy? Ultimately that decision will be a decision of heart versus mind. And Dipper's mind, Mabel is heart and they're fighting with the scraps of information they have.  Should we trust our heart about how we feel about this guy over the course of the summer and everything we've been through or should we trust the clues? That seemed like a believable way to get Dipper and Mabel to begin a rift between them that is resolved by the end of the series.”

The way Stan acts in [NWHS] is like, to me part of what feels so grounded about it is like I'm a child of divorce and like I know that when parents or parent figures know that hard times are coming for the kids. They kind of lay it on thick they're like who wants ice cream you know what I mean? Like Stan being extra nice to them at the beginning is like it's kind of a realistic thing that that adults do when they know like big changes are coming.

I felt it was really important that we added the scene where they're at maximum bonding. They're up on the roof, they're shooting firecrackers. Stan knows in his heart that when his brother arrives everything is going to change in ways he can't predict and he's really savoring this moment because he knows, even if things goes completely smoothly, which they don't. the kids are still going to be mad at him, especially Dipper for basically lying.  They had this big meeting after the end of Scaryoke where of course Dipper also crossed his finger but Stan crosses his fingers and says “oh I'm telling you everything” and he knows that the kids are not going to be happy about the fact that he's been keeping this all from them because they've done amazing things together already and he should have trusted them before now. 

This act break is them saying, “wait, Stan might be a random grifter who maybe killed our real uncle!” That's pretty heavy for any show let alone a cartoon show.

What that would mean for them if all this stuff is true is so much further than just like, “oh he lied to us about a couple things.” It's just like, “no he's straight up just some random dude that we don't even know uh and the guy that I've been pining for this whole time is dead!”  We really try to stack the deck so it's like Mabel's perspective and Dipper's perspective are both kind of racing to see who gets in front and there'll be a moment where it's like yeah you kind of buy with Mabel she feels good about about Stan and then this scene is the most you’re ever with Dipper where we discover this huge crazy curveball and this feeling that you have looking at this newspaper and looking through these fake IDs this is how Dipper feels all the time.  If you want a window about what it's like to be Dipper, this moment where a giant conspiracy reveals itself out of little pieces and seems to suggest that no one is trustworthy like that's that's where Dipper lives and this to him confirms every bit of suspicion and every bit of paranoia he's ever had and he's willing to run with it. 

I love these characters so much that, for me I was like “I need to see Stan saying goodbye to the kids at that bus. And I don't want him to be some guy who isn't Stan, who doesn't even remember the kids.” That would be really dramatic. It might make you cry more but to me it doesn't actually mean anything. Their relationship which they've built, he was willing to sacrifice his memories to save them. That's how much they meant to him but because he was willing to do that, I think he deserves to get him back.

Stan and Ford

But I think Stan's hope is, that in Stan's mind this is going to play out one way which is that; he's going to free his brother, his brother's gonna come out of that portal after 30 years. Stan's probably imagining that Ford is weak, emaciated, wrapped in a blanket, that he'll stumble forward, through a beard. through blurry eyes, he'll be “my brother, is that you?” He'll embrace Stan, he'll hug him, he'll say, “all these years I thought I was goner but you saved me! I was wrong to mock you, I was wrong to call you the stupid twin! Dad was wrong about you! You're the greatest man and let's be friends again and who are these niece and nephew?” Like that was what Stan was kind of hoping. He knows it's there's a million things that could go wrong, including potentially the destruction of this dimension, but he so desperately needs to believe that he can make up for the problems of the past. He's hoping for this but he knows that things are going to change

When I started the series, I always knew Stan had a twin but all I knew about Ford from the jump was that he's everything Stan Isn't. So Stan is a guy with a huge chip on his shoulder, he's kind of a loser at life. There's somebody who is a winner at life or at least was a winner in all these ways that Stan wasn't.

We realized that in order to bring out the maximum amount of frustration in Stan, [Ford] needed to have a bit of a heart. Like here we see him being kind to the kids, he's not he's not all bad which is what's so infuriating to Stan. The idea that he would quickly get along with the kids when he can't get any respect from them. Ford is designed for what would bring out the most amount of conflict in the family. What would be Dipper's hero, what would be Stan's rival and who's somebody that we could empathize with. I mean, it’s  hard to empathize with a character that comes out and punches one of your characters in the face, basically before he almost says anything.

You see that at this age, that all the stuff [in their room] that would cross over, that would appeal to both of them. It's not just like “there's science stuff here” and then there's “what Stan would be into.” but no, they both like all this.

There was also a version [of ToTS] where early on, they'd rigged the school water fountain. They did sort of like a caper, it was science and a scam together when they were in elementary school but we decided to save the science for the science fair stuff.

We played around with the idea that you would see them working together doing little science games or pulling little pranks. There was actually a scene that some of it was even storyboarded where they're in a treehouse together and Crampelter and his friends have tracked them down and are begging for their lunch money and Stan and Ford have used their jerkiness and geniusness to rig up like a water balloon throwing machine that knocks Crampelter in the head. I remember him saying, “oh no, my old-timey paper crown!” We were really hanging a lampshade on all these sort of Little Rascal cliches.

Ford's not a villain. You know he's getting in Stan's face and saying “I want my life back” but hopefully by the end of the episode even though you don't root for his perspective, you understand his perspective where it's like Stan ruined his science project, Stan shoved him into the portal, Stan took over his house. He’s not completely unreasonable to want it back and he's not completely unreasonable about his request. He says “okay you've got till the end of the summer” and Stan's little look there tells you everything you need to know about how he feels about the situation.

We needed pressure to be at the point where Stan and Ford recognize their lifelong rivalry and Ford does a sincere apology to Stan and almost more importantly, he acknowledges Stan's intelligence. He says “you wouldn't have fallen for Bill's nonsense.” He recognizes that his brother has a kind of intelligence he doesn't.

I always imagined that as kids, Stan and Ford were like this dynamic duo. They were getting into scrapes and like planning pranks and with Stan's creativity and Ford's genius that they were an unstoppable awesome team, before life turned them against each other. I imagine that as kids they were always swapping glasses and tricking their parents so that they could get double presents. And this is a move they did back in New Jersey constantly. We had to figure out who's gonna make a sacrifice and how and even though it's Stan who agrees to be “I'll be the one erase my mind, it's fine, it's worth it”, it's a sacrifice for both. Ford at this point is willing to get his brother back and he has to lose him again. 

Stan and Ford, when they can finally work together, do bring out the best in each other. They just have been missing it for so long.

Post-mind return, Stan and Ford get along and that scene where they both threaten the bus driver gives a hint of what would happen if their powers were combined. We've never seen them working together as adults, they would be a really formidable duo.

Pines Family

[The Blind Eye has] such a great scene between Mabel and Wendy. We don't have a lot of scenes that are just them hanging out and she can kind of be like the cool older sister. Mabel's so obsessed with boys and Wendy's just like "yeah, whatever. They're a dime a dozen."

“in the storyboard, the postcard that Soos is holding up from New Orleans actually said Vegas and at the last minute we got really worried that people were gonna see that and think that that was a clue that Stan was Soos's deadbeat father. And because like our audience, we've trained them to look for clues and to connect dots, they start connecting dots that are not connected. And I called a late retake because, and I see people be like, “wouldn't that be cool if Stan was actually Soos's father” and I hate that headcanon. Whoever's listening and you think “that's a great idea!”-- that's a terrible idea!! Because it means that Stan ran out on his kid and then came back in his life. And weirdly pretends to not be his dad. It flies against the moral of this entire episode which is like, you know this guy who is Soos’ blood relative like cast him out and didn't come back and didn't make time for him and all these people did. These people are Soos’ real family and to say “Stan would be Soos' real father more if he was genetically–”, I'm like “no, no forget that!” Like relationships are about what you do. To me friendship is thicker than water and family is something you can create so I really didn't want anyone to think that we were suggesting that because to me, it actually wasn't just the wrong idea, it was like thematically against what the show's about.” "

"[In NWHS] Every character faces their worst possible choice, which is “Mabel must choose between Dipper and Stan” and “Soos must choose between Stan and the kids,” like “guard that thing with your life. I'm not going to explain to you why.” I believe that Soos would do anything to guard Mr Pines's secrets and these are the only two characters that could possibly make him doubt Stan, these two kids that he loves so much."

"For [DD&MD], you want to set it up as being like [Ford]'s like the coolest toy that's down in the basement that Dipper really wants to play with and he is not allowed to play with him."

"The first three quarters of the series are sort of about Dipper's crush on Wendy and this final quarter is sort of about his crush on the Author. He's such a fan of this guy and he's so used to being denied that which he's a fan of and he's never found anybody who cares about his nerdy stuff. Mabel doesn't care, Stan doesn't care, Soos cares but on a different level. He's so hungry for the approval of somebody like Ford This idea that they would bond over a nerdy board game felt like sort of the way to do this big idea in a sort of grounded way that I like better than like Ford presented Dipper with the Five Trials of the Genius Boy. “I passed these when I was your age! Can you do it too?” and it's like nope he just likes the same dork game that he does."

"The arrival of Ford is creating the two sets of twins starting to pair off between the Brainiacs and the Maniacs"

"Actually I enjoyed that [Ford putting the die in a cheap plastic case] got a little bit of a reckless side because it shows you the Stan part of him. The Stan part of Ford, the little bit that likes a little bit of danger, he likes a little bit of risk. If he would show that side, it would be in when he feels at ease, with a kindred spirit. Around Dipper he’d be like “isn't this pretty cool?” He'd never be that irresponsible around Stan.  I like that Dipper is sort of a little bit of a Achilles heel for Ford as well. Ford has certain blind spots and Dipper exacerbates some of those just because he's willing to encourage, he's willing to “yes and” Ford towards whatever dumb idea he might have."

"Dipper, Mabel, Stan and Ford, they're all characters who need each other. Without Dipper, Mabel's just in a fantasy land. Without Mabel, Dipper is just sort of just spiraling into misery, spiraling into his own neurosis and not being pulled into those social situations, not growing as a person."

"You want [Stan] to be true to our various awful grandfathers, so I feel like for the most part you know that [being shitty to women] a plausible thing for Stan to do, that you only forgive because you know he's not a role model. Nobody wants to be like Stan. The kids never look up to him. The only person who looks up to Stan is Soos and Soos is enough of a comedy character that you understand the joke is “oh this guy thinks the worst way to live is good.” And then at one point you realize why. We made it clear why Soos looks up to Stan is because he gave him his job. He gave him a father basically, he’s essentially Soos’ father. And of course Stan who's had a life of just chaos and disappointment, the only person who would be a surrogate son is [Soos] but also Soos has the biggest heart in the world. So only the biggest heart in the world could forgive all of Stan's many flaws and also if Soos can love Stan, then maybe there's something in there worth loving, then maybe we can too."

"Stan, even when he's sweet, he still has to threaten to murder his niece and nephew."

"I do think the value of [Stanchurian Candidate] is that we're learning just how important it is that [Stan]’s seen. At this point, the kids have become a surrogate family. At the beginning of the show, they were just kind of a little nuisance and then he kind of tried out getting the family from them that he never got from his brother and the idea that he would lose them to his brother is his greatest nightmare and the only way he can really express that is by trying to be impressive to them and trying to be his brother's rival."

"Ford offers Dipper this apprenticeship because Ford sees Dipper as somebody who's special like himself. That Ford's great flaw is arrogance. He believes that there's special people and everyone else and that you can be held back by your siblings. That human attachments are actually weaknesses. The song and dance that he's giving Dipper right now is the exact song of dance that he gave McGucket back when they were younger which is like “sure you could continue working on your job and computers but you and me are different. We're better than everyone else, we have a path that no one else can understand. Only us can do this.” And it’s a very seductive idea for Dipper but he starts to be a little insecure here. He’s kind of “I can't believe it” and he's sort of right to be suspicious because Dipper is a smart kid but Ford's projecting. Ford loves Dipper because he sees someone who tell him yes to everything. He'll never challenge him and if Dipper had taken Ford's apprenticeship,Dipper probably would have gone the way of McGucket, turned into a kind of insane paranoid hermit with no friends, just kind of losing his mind. Like it's a seductive offer but also ultimately Dipper needs to learn not to try to grow up too fast."

"This entire time Dipper's been having this journey of self-discovery and seeing his future as this wonderful thing that he can't wait for. Mabel has been, piece by piece, seeing her idea of the summer fall apart."

"As Ford and Dipper's relationship grow stronger, Stan and Mabel also find much more sort of connection. They both feel like the sibling that's getting kind of sidelined."

"I think [amnesiac!Stan] would be hardest on Soos, second hardest on Ford but Soos would show it. Probably third hardest on Mabel, fourth hardest on Dipper just because where their hearts are. Dipper's not heartless, that's a testament to just how heartbroken those other characters are."

Series goal+ The Finale

"So our idea was; the memory gun can erase a concept as designated by the dial. It stores it. It records you and it keeps that recording and that if you watch that recording things start to come back a little bit, that it hasn't actually completely erased it from your mind. It's more sublimated somewhere where it's really really hard to reach and in the series finale, my concept of Bill is that; if he hadn't gotten in all those forms and fought Stan, Stan is the one that destroyed Bill. Were it just the mind eraser itself that he would be sublimated somewhere but he was weakened in the mindscape and destroyed in the mindscape. But Stan's memories were being sublimated and by looking at the scrapbook in the same way that McGucket's memories come back, they start to come back to the surface."

"I think part of what makes [NWHS] work also is that it has the strongest ticking clock. Yeah, I mean. it has a literal ticking clock. Also the sun is going down it's also, the town is starting to drift apart as the characters are starting to drift apart. There's just such a sense of Doomsday and even though we have like a three-part apocalypse, to me nothing feels as apocalyptic as this episode now."

"The entire purpose of [ToTS] is that Stan and his brother have had this huge rivalry that remains to this day and threatens to tear apart Dipper and Mabel and briefly does, and then Dipper and Mabel are able to find their way together, which is meant to repair Stan and his brother's past."

"Here we're teeing up the rest of the conclusion of the series which is just “whoa this is different. The status quo is shifted and is it going to shift us?” and that was the mission of this entire story was shift. Shift things such that it pits Dipper and Mabel against each other so that they can ultimately make things right and fix their uncles’ trauma in the process."

"“Let's try to set things into motion such that all of these characters who we love, who love each other are placed at maximum odds”. So Ford's entire existence in the series is basically a wrench in the relationships between Stan, Dipper and Mabel, that Stan has had a sibling who he didn't get along with and they've grown up having this horrible rift. Dipper and Mabel are these two twins who love each other but are very very different and are at this sort of volatile growing up moment where if something goes wrong could they turn out like Stan and Ford."

"[The convincing Gideon] scene works for me because it sort of represents the full completion of Dipper's Wendy Arc. Even though he's talking about Gideon and Mabel, he's really talking about himself. That idea that you can't force someone to love you but you can strive to be someone worthy of loving. It really does come down to like be the best you, you can be and the right person will see and feel that."

"It was gonna be W1, W2, W3 and then some kind of goodbye story. I remember it being something vaguely about some sort of other time travel. Bringing Blendin back because he just kind of vamoosed in the middle of this big story. There was that discussed like time traveling back to the first day when the kids arrived. The challenge was thinking of a valuable arc. So like each episode needs to have like a new problem and a new resolution and I was trying to brainstorm what's something that could feel valuable for like a final episode after the apocalypse, after Stan's mind has been erased and he's in the process of getting it back. "

"The thing I remember I wrote one out it was it's the last day of summer. Dipper and Mabel are packing uh they're planning to go home, they're feeling like nostalgic, they kind of don't want to leave. Blendin shows up and he explains that there's all these time bubbles left over, these weird anomalies because of all the time business and what Bill has done and just to watch out and be careful. Then Dipper and Mabel actually accidentally trip into one of these bubbles that are sent back to the very first episode or actually beyond the first episode, their first day in Gravity Falls um and somehow this was meant their character arc was to go from being like a little sad that they're going to leave Gravity Falls to seeing what it was like on the first day. When they were scared to be in Gravity Falls. The idea is like their first day they're like “oh Grunkle Stan, he's this weird old man and we hate living in this house and like we missed our place of comfort back home! And this is a kind of scary new adventure that we don't like.”  The kids see their own growth and realize like “the way we felt about going to Gravity Falls like we don't think we can handle it, is how we feel about leaving.” That feeling of going into a new experience means that something new and exciting is going to happen you're going to grow. There was some thought that maybe over the course of that episode, Stan would get his memory back and something that the kids had done in the past would help him in the present, get his memory back.

"What's supposed to be happening here isn't that Stan's entire memory reappears in an instant. It's supposed to be a couple days of work and we see the beginning of that process when he looks at the scrapbook and then we're kind of jumping ahead a few days. maybe a week of just intensive memory therapy with Stan before he gets there."

"When we were trying to crack the half hour episode after Weirdmageddon, it felt like we were just kind of wallowing and Stan not having his memories. It was a very depressing thing. And we didn’t get to have Stan for the last episode, which was like “it's a great it's great i think you get the emotion like in this episode. It tears you apart when you see it. You could last a little bit longer on it. But going much longer, then you just feels like well what are we doing? Why are we just kind of wallowing in our own sorrows for no good reason.”

"When we had discussed the idea of an episode beyond this episode, a fourth episode, it was basically 20 minutes of [amnesiac!Stan]. This is so intense, you might think you want it but good lord, this is enough."

"Bill singing “We’ll meet again” was something that just felt like the perfect reference because this is kind of an ending about endings in a lot of ways and we know we know Bill's going to be defeated. We know that people like Vill and have grown attached to him and for him to sing “We’ll meet again” is sort of the perfect mysterious way to say like “I might be going, I might not be going.” It’s a reference to Dr Strangelove, a movie that famously ends with nuclear apocalypse and the song “We’ll meet again” so it's for those pop culture savvy. It's already tinged with a kind of a fear and an irony and the apocalypse built in, so it's perfect on a number of levels."

"The concept of the Zodiac as existing in our current canon is this idea that the prophecy was that friends and enemies would need to come together, seemingly impossible alliances would need to be made to stand up to Bill for this prophetic moment. You know that characters like Gideon who was who used to be an enemy, characters like Pacifica, like Robbie, that we've reached the point where thanks to the kids’ kindness and growth, they are now friends with Pacifica, they've resolved Robbie's jerkiness, they've helped McGucket with his memory. They've even overcome this issue with Gideon in W1 and so it seems like friends and enemies have all been restored, leaving only one thing which is Stan and Ford have to shake hands. And their pride once again is what dooms the entire world but they get so close."

"It's clear Stan, even though he's being stubborn here and holds things up, he's ready to do it.  He clasps Ford's hand and then Ford can't help but correct his ignorant brother with something that doesn't matter at all after professing how important all this is and how important it is to put pettiness aside, he's the one who ends up being petty in the end."

"I like that Stan [during the deal] is just thinking “all right, think white, think white, think white.” He's like “think about nothing but sitting on your lazy boy.” "

"Stan and Bill had never interacted in the series up until this moment  because he had just been taken over when he was asleep. We'd seen a lot of Ford and Bill, but Stan and Bill has never happened. And Bill sort of represents all the mystery and weirdness, and Stan is the guy who just wants to have a good life and protect his family. He's the one who never invited Bill in but he's willing to take Bill out."

"If Mabel's going home with a pig, Dipper's going home with this symbol of his friendship with Wendy. And even Stan he's wearing that Mabel sweater. That's a visual symbol of; he's softened up, he's embraced family, he doesn't need to be the tough guy all the time."

[zev-rynna]

I am made aware of the controversy around Jiyan on how he became the general and the terrible story writing from the writers part.

Jiyan has been called names like “Run-away General”, “The Faux General” etc etc, and the complaints that Jiyan is a hypocritical character that judged Geshu Lin’s decision making and yet made the exact same decision Geshu Lin made in the end.

Honestly speaking, I don’t doubt the possibility of terrible writing on Kuro’s part but I wonder if this also reflected the complexity of human nature in the sense that there’s just no perfectly evil/bad person (in this case Geshu Lin) or the perfectly good/right person (in this case Jiyan)? Maybe it was written this way, but wasn’t properly done? Idk..

This is going to be long, bear with me…

Geshu fought the battle and was almost winning, and he has lost too many people to back off. And in his “conversation” with Jiyan, he did also highlighted that backing down and running away will not do justice to all those lives he carried behind his back. It’s true, when it’s war, if you decide to back down knowing you could’ve won, you have nothing to explain to those who have lost their lives in previous battles. Geshu Lin carried all those lives with him, and in his knowledge, the retroact rain’s effect was relatively unknown to him, and his arrogance or overconfidence may have resulted in him disregarding the significance and danger of the unknown. And Geshu Lin was born a warrior, fighting to win battles also means sacrifices have to be made, and therefore his actions reflected his values.

On the other hand, Jiyan was born a medic. His values revolved around saving lives, and the purpose of winning certain battles is to ensure better lives for his people. So if a war caused too many sacrifices, is that war still considered a win for his people? And so with his knowledge and his instincts on the catastrophe that may happen due to the retroact rain, with no Geshu Lin in sight, he made the choice to save as many people as he can by ordering a retreat. I believe at that point, he has no intention to override Geshu Lin’s authority or to made Geshu Lin the “bad guy”, but solely to save the people left to save before they all perished.

But the society (Jinzhou citizens) will need someone to blame. This is the reflection of how humans are like. When loss is too big and incomprehensible, the tendencies to blame become prevalent. In that situation, without knowing all sorts of context, Geshu Lin led to the death of the people and Jiyan was the one who ensured lives saved. Jiyan naturally became the hero and Geshu Lin the villain.

I don’t believe that Jiyan personally wanted to reprimand Geshu Lin or try to taint his reputation so it can make his “promotion” to General more believable. Yes he did not agree with Geshu Lin’s ideals, but I don’t think the whole “Geshu Lin was the cause of this tragedy” talk was started by him. It was the people who needed a hero and someone to blame during the difficult times. Then he was chosen to be General, and when you get to a position like that, confiding in people to tell them how you truly feel becomes a luxury because people start to rely on you and in order for them to respect you and able to lead an army, you have to be composed, and mask all forms of doubts.

When Rover came as prophesised, Jiyan was seen having a “conversation” with Geshu Lin before the war, and Jiyan was mostly quiet on his part. You can sense his doubts manifesting as he is about to make the exact same decision Geshu Lin made years ago, and he questions himself. But then again, Jiyan was flamed incredibly cuz of the irony that he did in fact made the same decision Geshu Lin did, but Jiyan was in the luxury to make that decision knowing what he knew, and having Rover by his side made the odds significantly better. And this was what made the fans/anti-fans so bitter about Jiyan because this was pure hypocrisy at play, especially it made Jiyan looked weak cuz everyone knew the outcome may have been the same as years ago if Rover was not present. But that’s the thing, if Rover was absent, I don’t think Jiyan would’ve made the decision he made.

The tragedy was that Geshu Lin was too quick to be burnt on the stake by people who were desperate to find closure. And the situation Geshu Lin was in, made this grey in the sense that no one truly knew what happened at the war zone and Geshu Lin did not have everything that the people know now about the Retroact rain and Rover to made the war of his time a success. Jiyan has that, that was his luck. But how does one blame Jiyan for that? After all, luck is an also huge component of strength. And probably (just a speculation) - the irony of Jiyan making the same decision as Geshu Lin may be a foreshadowing of Geshu Lin’s return to mock the hypocrisy of the entire ordeal, including the people who blamed him.

The whole situation where Geshu Lin was strongly blamed as the villain and Jiyan was depicted as the hero and the best person ever was so overly exaggerated, I don’t think this was what Jiyan meant for to happen. And I know a lot of people say that “well but Jiyan took all those compliments bla bla”. But he was promoted to general though, he cannot just come out and disregard what people said about him because he needed these people’s vote of confidence, and during those dark times, he is in no position to show any form of doubts. But it doesn’t mean that he didn’t mourn the loss of respect and reputation of Geshu Lin when he’s alone.

I’m upset Jiyan got too much hate for this. This was a perfect depiction of how complex humans are and how things cannot be black and white. It’s so nuance that I’m not sure if I properly explained it in words.

Then again, I really like Jiyan’s character, although I have the admit, the writing was terribly done, which may have caused so much backlash cuz of all the unsaid things. I felt that with a little bit more of explanation on the plot and Jiyan’s thought process would’ve significantly helped with Jiyan’s character building. Now Geshu Lin is so well loved cuz everyone felt that Jiyan stole all that belonged to him. I wouldn’t say Geshu Lin was entirely innocent despite the fault of the people who were quick to blame him, but that’s for another day.

Again, there isn’t a perfectly evil person, just like there isn’t a perfectly good person. People are complicated and one action does not justify the other.

[inbarfink]

So when discussing the ending of ‘Over the Garden Wall’ and the nature of the Unknown in general, I think it is important to remember that it’s left deliberately up for interpretation. You know, it’s not a Quiz with one concrete answer we must uncover, but it’s more about our interpretations and personal feelings. Each and every one of us experiences that journey with Wirt and Greg into the Unknown in a slightly different way. 

So what I want to do here is not present a Correct Interpretation that will dispute all the others and prove them all wrong and prove myself right, I just want to share my own outlook on the nature of the Unknown. In the hopes that others will like it and it’ll inspire more cool readings and interpretations

So on some level I do agree with the popular theory that the Unknown is some sort of Afterlife - but I don’t see it as a regular Afterlife for human souls, I think it is an afterlife for Stories. This place is where fictional characters and stories end up once they’ve been totally forgotten by the living, ‘lost in the clouded annals of history’. and become.... unknown It is quite literally a place where ‘long forgotten stories are revealed to those who travel through the wood’.

That’s why the Unknown is a mishmash of different time periods and primarily visually and narratively influenced by stuff like fairy tales, ghost stories, children’s books and old cartoons - these stories have a high-tendency to be forgotten and thus get lost in the Unknown (whatever it’s because they rely on oral traditions or because they suffered from very poor preservation historically). 

And that is what the theme song, ‘Into the Unknown’ is talking about…

Where can we pretend that dreams do come true? In Stories.

And what are ‘the loveliest lies of all’? Now that would be Fiction. 

The entire concept of stories is a huge theme of this song, I think.

Beatrice and her family, Adelaide of the Pasture, Auntie Whispers and Lorna were all originally fairy tales. Maybe the same fairy tale, or maybe they were originally separated before being ‘melded’ together. (If, for example, the last child to Remember them before they were forgotten just assumed the Bad Witch in both the Auntie Whispers and Beatrice stories was Adelaide)

Pottsfield was an old urban legend about a haunted ghost town, Wirt and Greg basically played through its ‘plot’ directly. 

Miss Langtree, the schoolhouse and the other associated characters come from a long-forgotten and out-of-print children’s book. That’s why those characters tend to talk in comically-stilted expository dialogue. 

The Tavern was the setting for a series of 20’s animated cartoons.  (Although obviously set long before that era). The Tavern Keeper was created as a Betty Boop clone and was the main character. The Tavern setting was probably a mere framing device for all sort of musical animations. The reason why none of them can comprehend the idea of not having some sort of Title or Label is because that’s how they were written - all given job-related titles but not named.

Fred the Talking Horse was a main character from a forgotten tradition of humorous oral stories where he was sometimes a trickstery anti-hero and sometimes a straight-up comedic villain protagonist.

Quincy Endicott and Margueritte Grey were characters from a satiric limerick about the greedy rich and their wacky habits. (Quincy was at least inspired by a real-life person since his name appears on a tombstone in the real world)

Possibly the same limerick where the punchline was the status-quo at the beginning of their OTGW ep, that both rivals’ mansions have become connected and they assume the other is a ghost haunting their house. Or maybe they were each from different regional variations of the same limerick about a greedy rich weirdo being lost in their own house and going mad. 

Frogland and their little boat might be from a children’s book as well, but I also think that maybe… from the vignettes shown at the opening of the series…

That one might take place outside the Unknown, and shows the real inception of Frogland. Two brothers making up stories with their toy boat by the river. Since they never shared these stories with anyone else, when these two brothers died or maybe just grew up and forgot their boyhood misadventures by the stream - these stories also ended up in the Unknown. 

The Fishing Fish we see briefly in ‘Babes in the Woods’ might be a small comedic illustration from a children’s book, or another piece of limerick, or just someone’s random notebook doodle that gained a life of its own first in the creator’s mind and then in the Unknown. 

Cloud City, the North Wind and the Queen of the Clouds were also, much like the Tavern, from a very old cartoon.

The Beast was once just a mere Boogie Man to keep young children from wandering off into the woods. Ending up forgotten in the Unknown just ended up giving him a whole world of lost souls to harvest. 

Maybe the Woodsman and his daughter were always a part of the story of the Beast. But since it seems that the Woodsman being a lantern-bearer is a fairly recent development - they might have had their own separate story. Some sort of pastoral novel about a family moving near the woods? But their narrative has been ‘hijacked’ by the Beast. 

Wirt and Greg ended up lost within the Unknown cause had they actually died in the lake that night - they would have become a Story in their town. I mean we have a moody lonely teenager and his adorable little brother disappearing/dying - on the night of Halloween - after last being seen in a graveyard - with the older brother’s last act on this earth being to hand his crush a cassette of his love poetry. Can you imagine what sort of Urban Legenda you can grow from those seeds?

But as they were not yet dead, and not a Story yet… so they were technically an Unknown story. Between the borders of life and death from a human perspective because they were about to die, and from a Story perspective because they were just about to be born.

And the ending sequence, with the little vignettes showing where all the characters from all the episodes ended up. I think that’s almost like Wirt and Greg back in the world of the living and the real - being able to create happy endings for all of those stories they've met. That’s how the Woodsman’s daughter ended up being alive all along - it was less that the Woodsman's whole tragedy was a wacky misunderstanding all along. But it became so as a gift of thanks by their new storytellers - Wirt and Greg.

Because if dreams can't come true, than why not pretend?

[deadhands69]

A New End: Villain Origin

MDNI

this one is sfw but the series contains eventual smut

Tomura Shigaraki x gn/afab reader

Warnings/Content/etc: swearing, light mentions of violence, eventual spoilers, and eventual smut.

this is the intro - part 1

|\/\/\| villain origin |/\/\/|

You were promised a future. 

Somehow your future vision quirk got you through the entry exams and into UA high. Congratulations, here's a new home, new classmates, and a great big glowing ball of hope. You'd do well in school, study under Nighteye, and go on to become a pro hero. 

Don't fuck it up. 

Your quirk isn't without its limitations though: you only see the future of decisions that emotionally impact you. Sometimes you don't consciously see visions at all, feeling a strong pull most would call “extreme intuition” but you always knew it was your quirk guiding you. 

When you arrive at school, being placed in a room full of people who've spent their lives being praised for their flashy abilities, you don't fit in. They make sure you know that. Most of them, that is. Some just don't say anything to stick up for you at all. Some heroes they’ll be. It would be impossible to care enough about any of your classmates to have useful premonitions so you might as well have been quirkless. 

In a class of what were supposed to be your peers, you felt alone. Isolated. That's why, when your quirk kicked in during a mock battle showing you the way to win, you didn't just take the victory. You annihilated the other team, putting four of them in the hospital. Every asshole treating you like an outcast being victimized and praised while you were the bad guy. 

That's how you got kicked out of UA. Left sitting on the sidelines while they all became pro heroes. 

From that day on, it felt like you were drifting through life. Searching for something but never quite finding out what it is. 

Walking into this dingy bar, you should feel something like fear. But you don't. The intuitive side of your quirk brought you to this place, nearly forcing your footsteps as you shadow Girian. 

“Who do we have this time,” a raspy voice calls out.

“You’ll like this one, more polite than the others. And, they have a future vision quirk,” answers Girian. You can feel the annoyance in his voice as if he’s had this conversation a few too many times and is sick of explaining himself.

“Got it. What’s your name?” the blue haired man at the bar asks.

“[L/N][Y/N],” you reply. Getting a better look at him, he looked more intimidating on TV. Here, he’s just a regular guy with a really weird hand mask. 

“Okay then, do your thing, [L/N].” 

“I-,” you stutter. It feels like UA all over again. But would your quirk lead you back to that situation again? You don’t think so. “It doesn’t work that way.”

For the first time, his blood red eyes look in your direction. He doesn’t even bother to hide the cringe beneath the hand covering his face.

Well, it was worth trying. Time to go. 

As you turn to leave, the raspy voice rings out again.

“Wait, where are you going? We aren’t done talking. So much for manners…” he trails off muttering to himself.

“What else is there to talk about? I thought I could be useful to you but I’m not being treated like an outcast again.”

“HA!” you flinch, his laughter catching you off guard. “You think you’d be the outcast here?”

Admittedly, you hadn’t really thought about it. You knew they were putting together some sort of anti-hero villains league, but having never been a “villain” you still thought you’d feel left out somehow. You never considered, maybe that’s what makes people come here in the first place. 

“We’ll use your quirk. Probably have to keep you around like some sort of oracle so we don’t miss anything. You’ll stay here,” he nods to the smokey man looming behind the bar.

“Right this way,” the cloudy figure gestures to you, “I’ll show you to your quarters.”

Moving from your apartment took all of three trips with one of Kurogiri’s warp gates. Once your bed and dresser were set up, it was just a few boxes of clothes, books, and bits of decor left to move. In spite of looking wispy, you were surprised to find the smokey man is incredibly strong and could carry most of your belongings at once.

Adjusting to your new surroundings has been easier than expected too. While you hadn’t seen your new boss much more than in passing, a few others have come around and some seem nice. You’re excited at the prospect of being able to work with people.

Girian noted you were the first Shigaraki has accepted on the spot, which is encouraging. You’ve never been picked first for any team before. 

Maybe you do belong here.

part 1

m.list

[scary-grace]

the new postmodern age (chapter one) - a Shigaraki x f!Reader fic

Written for @threadbaresweater's follower milestone event, and the prompt 'a day at the beach'! Congratulations on the milestone, and thanks for giving me a chance to write this fic.

dividers by @enchanthings

Before the war, you were nothing but a common criminal, but in the world that's arisen from the ashes, you got a second chance. Five years after the final battle between the heroes and the League of Villains, you run a coffee shop in a quiet seaside town, and you're devoted to keeping your customers happy. Even customers like Shimura Tenko, who needs a second chance even more than you did -- and who's harboring a secret that could upend everything you've tried to build. Will you let the past drag both of you down? Or will you find a way, against all odds, to a new beginning? (cross-posted to Ao3)

Chapters: 1 2 3

Chapter 1

You believe in second chances.

Before the war, you were living on the margins, just like the rest of even the pettiest criminals were. No one would hire someone with a record, even if the record was for something nonviolent, and that meant that you were always hungry, always freezing in the winter and getting heatstroke in the summer, always one step away from doing something worse and getting put away for good. You were going nowhere fast, and no matter how hard you tried, you couldn’t get back on your feet. It was a struggle to get up in the morning.

But after the war, something changed. Not a lot, but enough, because after a heartfelt public plea from the hero who saved the day, the world decided to care a little bit about people like you. The government passed new anti-discrimination laws, including one banning hiring discrimination against people with criminal records, and for nonviolent criminals like you, they opened up an extra opportunity – a choice between job training or a startup loan for a small business, so you could pay down your fines and restitution while adding something good to society. Sure, it was all in the name of preventing new villains from being created, but you’ll take it. You took it, picked up a loan, moved out of the city to a small town on the coast, and decided to open up a coffee shop.

You’re not really sure why you picked a coffee shop. Maybe because the town you moved to didn’t have one yet, or maybe because you used to hang out in them a lot when you had nowhere else to go. And the program you’re part of worked exactly like it was supposed to. You had to hire people to help you get the building you chose up to code, and that meant you met people in your new community. You showed those people that the criminals they hated were people, too. You’ve paid most of your fines and you’re able to break even anyway, and even though there’s a sign on the door telling everyone that you’re a convicted felon and you have to answer any questions you’re asked about it, you have customers.

Not just customers – regulars. People whose kids you’ve seen grow up, people who talk to you when they see you out and about. After five years of trying, you’ve finally carved out a place where you belong. So yeah, you believe in second chances. How could you not?

You stand back from your front window, admiring the latest addition. There’s the sign identifying your business as one sponsored by the Nonviolent Criminal Reintegration Act, but just above it, you’ve added a bigger sign: Free Internet Access. Osono, whose bakery makes the pastries you sell, studies it alongside you. “Free access? Shouldn’t it be access with purchase?”

“I thought about it a lot, but no.” You’re sort of lying. You thought about it for two seconds and that was it. “This is better.”

“It’ll attract riff-raff.”

That’s the kind of comment that used to really piss you off, but you know Osono. You know it’s just a blind spot, and you know how to respond. “Most things are online these days. Job applications, apartment listings, information on government assistance. When I was in trouble before, free internet access would have helped me a lot. And I usually bought something anyway, even if it was just a cup of coffee.”

“Not a pastry?” Osono nods at the trays stacked on her cart, and you remember that she’s waiting for you to open the door. Oops. You unlock it in a hurry and prop it open with a rock you pulled up from the beach. “Where were you getting food?”

“Wherever I could.” You were hungry a lot. And sick a lot, because sometimes you had to eat things that were expired. You don’t like to think about that very much. “I stole sometimes so I wouldn’t starve. I’ve paid it all back by now.”

“You know how to take responsibility,” Osono says. She slides back the door on your pastry case without asking and starts loading things in. “I wish more of them were like you.”

“Most of us are,” you say, as gently as you can manage. “We just need a fighting chance.”

Sometimes people forget that you’re a criminal, that you’ll carry your record around for the rest of your life. You can’t let them forget. Osono nods in the way that tells you she’s humoring you and lifts a tray of pastries you haven’t seen before out of the cart. “These are a new recipe I’m trying out. What do you think?”

“They’re pretty,” you say. “Is that chocolate in the filling?”

“And cinnamon. They aren’t vegan, but there aren’t any common allergens in them.” Osono passes you the recipe anyway, and you scribble down the ingredients on the back of the name card you’re making, just in case someone asks. “Tell me how they do, all right? If they sell decently I’ll add them to my rotation.”

“Will do.” You help her with the last few trays. “Thanks, Osono. Say hi to the kids and Naoki for me?”

“Will do.” Osono wheels the cart back out the door, then pauses to study the internet access sign. “Good luck with this.”

“Thanks.”

You wait until the delivery van pulls away before you start rearranging the pastries to your preferred setup. You add “new arrival” to the label for the new pastry, then touch the lettering to turn it a pleasant but eye-catching green before placing it front and center in the case. Then you set up your espresso machine, wake up the cash register, switch on the lights and take down the chairs from the tops of the tables – and only then do you switch on the other sign in your window. It’s seven am. Skyline Coffee and Tea is open for business.

It’s grey and cold, and the low tide is closer to noon today, which means you’re in for a busy morning as the people who walk the beach daily stop in for food and coffee first. Only one person orders one of the new pastries, but almost everyone comments on the free internet access. They say the same kind of thing Osono said, and you say the same thing you said to her if they hold still long enough for you to answer. You say it nicely. It’s an effort to say it nicely, sometimes, but it’s worth doing.

Past noon, things slow down a bit. You decide to speed-clean the espresso machine, and you’re so focused on your work that you don’t notice the customer. It’s possibly also the customer’s fault, since he’s peering at you from over the pickup counter instead of standing by the cash register, and when he barks the question at you, it startles you badly. “What’s the password?”

“On the WiFi?” You tuck your burned hand behind your back. “No password. Find a place to sit down and have at it.”

The customer looks disconcerted. Or at least you think he does – the lower half of his face is covered with a surgical mask, and given that he doesn’t have eyebrows, it’s hard to read his expression. “Why?”

“Why isn’t there a password?” You haven’t gotten that question yet. “I want people to be able to use it if they need it.”

“They’re gonna watch porn.”

“Me putting a password on the WiFi wouldn’t stop that,” you say. “And I’m not the internet police. If somebody starts acting up, I’ll deal with it. If not – just use headphones.”

The customer’s expression twists. “I didn’t mean me.”

“Sure.” You’re not a moron. “It’s not my business what you do. Unless your business starts messing with my business. Seriously. Knock yourself out.”

The customer turns away, and you spend a second being extremely grateful that you went for single-occupancy bathrooms instead of multiple-stall bathrooms before you go back to cleaning the espresso machine. Your hand hurts, but it’s nothing running it under cold water won’t fix later. When you straighten up, there’s someone at the counter.

It’s porn guy, who you really shouldn’t call porn guy. Innocent until proven guilty and all that. You dry your hands and hurry over. “What can I get for you today?”

“Black coffee.”

“Sure. Anything else?”

The customer glances at the pastry case and shakes his head. Then his stomach growls. He knows you heard it. What little of his face is visible above the mask turns red. “No.”

“Tell you what,” you say. “I’ve got these new pastries the bakery wants me to try out, but next to nobody’s tried one yet. If you agree to tell me how it was, you can have it half off.”

“I have money.” The customer shoves a credit card across the counter to you, and you see that he’s wearing fingerless gloves. Or sort of fingerless gloves. They’re missing the first three fingers on each hand. “I don’t need help.”

“No, but you’re helping me out.” You add the pastry to his order and discount it by half, then fish it out of the case with a pair of tongs. “For here or to go?”

“Here.” The customer watches as you set it on a plate. “What is that?”

“It’s babka.”

“I can read. What is it?”

“I don’t really know,” you admit. Maybe that’s why people aren’t buying them. “The filling’s chocolate and cinnamon, though. It’s hard to go wrong with that. It’ll be just a second with the coffee.”

You fill a cup, then point out the cream and sugar. Then you realize you still haven’t tapped the customer’s card. You finish ringing up the order and glance at the cardholder’s name. Shimura Tenko. He hasn’t been in before today. You’re not the best with faces, but you never forget a name.

Shimura Tenko sets up shop at the booth in the farthest corner, and although you sneak by once or twice to check on him, you’re pretty sure he’s not watching porn. People don’t usually take notes when they’re watching porn. It looks like he’s working or something. Working remote, but he doesn’t have internet access at home? Or maybe he does, and he’s just looking for a change of scenery. That’s a normal thing to do. A change of scenery is one thing Skyline Coffee and Tea is equipped to provide.

Speaking of that, it’s been a while since you changed out the mural on the café’s back wall. Your quirk, Color, lets you change the color of any object you touch, and choose how long the color sets. You’ve used it for a lot of things over the years, but now you mainly use it to create new murals every few months or so. The back wall’s been a cityscape since the fall, when you saw a picture of Tokyo’s skyline at night and got inspired. Maybe this weekend you’ll switch it out for something a little softer. If people wanted the city, they’d stay there instead of coming here.

Customers come in and out, a few lingering for conversations or to test out the free WiFi, but Shimura Tenko stays put, somehow making a single cup of black coffee last until you give the fifteen-minute warning that you’re closing up shop. Another person might be pissed about someone hanging out so long without buying anything else, but you’ve been there. You let it go, except to ask him how the babka was as he’s on his way out the door. He throws the answer back over his shoulder without looking your way. “It was fine. Nothing special.”

Fine, sure. When you go back to clear his table, you find the plate it was on wiped clean. There’s not even a smear of the filling left.

“Check this place out!” Your probation officer leans across the counter, eyes bright, out of costume and way too enthusiastic for eight in the morning. “It’s looking great in here. You changed something. New color scheme? New uniform?”

“Nope.” You don’t get nervous for your check-ins, but you don’t like the fact that they’re random. Today’s not a good day. “There’s some new stuff on the menu, and in the pastry case. Maybe that’s it.”

“No,” Present Mic says, drawing out the word. He turns in a slow circle, then whips back around with a grin. “When did you repaint that wall?”

“I didn’t paint it,” you say. It’s best to be honest. “I used my quirk. I’m not making money off of it and it’s not hurting anyone, so it falls within the terms of my probation.”

“Take it easy there, listener. I’m not trying to bust you,” Present Mic says. Heroes always say that. You know better than to buy it. “It looks good. Really brightens the place up.”

“I thought it could use it,” you say. “It’s kind of a rough time of year.”

Cold weather always brings you lots of customers, but people are sharper, unhappier, and if they’re in the mood to take it out on someone, they pick somebody who can’t make a fuss or hit back. Somebody like you. You’ve learned not to take it personally. “Not too rough financially. You’ve made all your payments on time. I checked.” Present Mic is peering into the pastry case. “How’s that free internet access thing going for you?”

“Not so bad,” you say. “The connection’s pretty fast, so I get people in here who are taking online classes, or working remote. I’ve only had to kick one person out for watching porn.”

“Yeah, he filed a complaint,” Present Mic says, and your stomach drops. “You made the right call. Don’t worry.”

You’re going to worry. It’s going to take all day for that one to wear off. “I haven’t had problems with it otherwise.”

“Why’d you do it?” Present Mic gives you a curious look. “Free stuff brings all kinds of people out of the woodwork. Why give yourself the headache?”

“I want this to be the kind of place I needed,” you say. “Somewhere safe where nobody would kick me out if I couldn’t buy more than one cup of coffee, where I could use the internet without getting in trouble for it. A headache’s worth that to me.”

It’s quiet for a second, but Present Mic being Present Mic, it doesn’t last. “You really turned a corner, huh? Hard to believe you were ever on the wrong side of the law.”

“We all could be there,” you say. “It only takes one mistake.”

Present Mic sighs. “You’re telling me. Did you catch the news last week?”

“The thing with Todoroki Touya?” The surviving members of the League of Villains all went through their own rehab, and they’re on permanent probation – and last weekend, Todoroki Touya, formerly known as Dabi, lit somebody’s motorcycle on fire after they followed him for six blocks, harassing him the whole way. “I saw. Is he getting revoked?”

“Nope. The other guy was way out of line, and the panel ruled that the majority of people – former villains or not – would have reacted similarly under that kind of pressure.” Present Mic rolls his shoulders, and his leather jacket squeaks. “All I can say is, he’s lucky we’re in the business of second chances these days. Or fifth chances.”

“Why so many?” you ask. “The rest of us are on three strikes, you’re out.”

“Yeah, but you have to mess up a lot worse for it to count as a strike,” Present Mic points out. “If I had to guess, I’d say it’s a guilt thing. This whole rehab thing is Deku’s idea. And Deku never got over what happened with Shigaraki.”

Members of the League of Villains died leading up to the final battle, but of the five who made it that far, only one of them was dead at the end of the war – Shigaraki Tomura, their leader. To most people, it was good riddance to the greatest evil Japan has ever seen, but Deku’s always been publicly against that viewpoint. Insistent that All For One was the true villain. Regretful that the war ended with Shigaraki’s death, too. “Since he couldn’t save him, he’s stuck on saving the other four,” Present Mic continues. “Which equals infinite chances. So far Todoroki’s the only one who’s needed them.”

You nod. Present Mic stretches. “Let’s take a walk,” he decides. “I’ll buy coffee for both of us.”

“I can’t leave,” you say. “I don’t have anybody else to watch this place. If a customer comes by –”

“Half an hour, tops. Come on.” Present Mic produces a wallet from the inside of his leather jacket. “The sooner we leave, the sooner you can come back.”

You lock up, hating every second of it, and follow Present Mic into the cold, a to-go cup of your own coffee in your hands. Present Mic runs through the usual list of questions, the ones that cover your mindset as much as they cover your progress on your program requirements. Some of them are about how you’re getting along with the civilians in town, and you know he’ll be checking in with some of your customers, seeing if their perception lines up with yours. It feels invasive. Intrusive. Some part of you always pushes back. You always quiet it down. You made this bed for yourself, coming up on a decade ago. Now you have to lie in it.

“I’ve got some news,” Present Mic says, once he’s finished with the questions. “The program’s considering early release for some of the participants.”

“Why?”

“The legislative review’s coming up, and they want success stories,” Present Mic says. “You know, people who clawed their way out of the criminal underworld to become productive members of society. I’m putting your name on the list.”

You almost drop your coffee. “Really?”

“Yeah,” Mic says. He seems taken aback by your surprise. “I mean – you’re kind of who this thing was designed for, listener. You caught your first charge when you were underage, for a nonviolent crime, and the rest of your case is a perfect example of just one of the many problems Deku won’t shush about. Now look at you. You’ve got your own business, you’re paying back your debt to society, you’re participating in civilian life. There are civilians who don’t do that much.”

Of course they don’t. Actual civilians don’t have to prove they have a right to exist. “If you’re approved for early release, the government will waive interest on your startup loan, and I heard a rumor that they’re considering wiping charges off people’s records,” Mic continues. “It’s a pretty good deal, listener. And you’re making a pretty weird face.”

“Sorry,” you say, trying to fix it. ��I mean – felonies are a forever thing. They don’t get wiped.”

“It’s just a rumor,” Mic says, and pats your shoulder. “Even if that doesn’t pan out, you could use a break on the interest. Anyway, it’s not a sure thing, but I put your name up. You’ve got as good a shot as anybody.”

You think that’s probably true, which is weird to think about. You’ve been behind the eight ball since you were in high school. Present Mic throws down the rest of his coffee, then turns back the way the two of you came. “Let’s go. I saw a pastry I wanted to buy, and I bet you have a customer or two.”

You’ve heard things about other program participants’ probation officers taking things without paying, but you got lucky with Present Mic – he always pays. Sometimes he even gives you a hard time for setting your prices too low. And he’s right about the customers. When you get back, one of your regulars is sitting cross-legged, leaning back against the locked door with his hood up and his laptop open.

It’s Shimura Tenko, who you never saw before you started offering free internet, and who’s turned into a regular ever since. The two of you don’t talk the way you do with some of your other regulars – something about the mask and the hood and the gloves tells you that Shimura isn’t looking to make friends. But he shows up two or three times a week, orders black coffee, and camps out in the corner of the café until closing time. Sometimes you can talk him into a pastry, and it’s always a babka. Whether he orders one or not, he’s always hungry when he comes in.

Shimura looks up as you and Present Mic approach. His eyes narrow, then widen abruptly, almost comically shocked. Then he slams his laptop shut, rockets to his feet, and books it, vanishing down the street and around the corner. You feel a surge of frustration. “Can you not scare my customers?”

“I’m out of costume. Even when I’m in, nobody’s scared of me.” Present Mic is lying. You’d have been scared out of your mind to run into him back in the day. “Damn, that guy was skittish. What’s his deal?”

“He’s one of my regulars.” Was one of your regulars, probably. People don’t react the way Shimura just did and come back for more. You unlock the door, feeling strangely dispirited. “Which pastry were you thinking about?”

Present Mic sticks around for an hour or so, long enough to talk to a few customers who don’t run away from him. Most of your regulars have seen him before. He leaves a little bit before noon, after eating three pastries he paid for, and as usual, the café quiets down in the afternoon. You don’t mind. Today wasn’t a good day even before Mic put in a surprise appearance and scared off a customer for good. Days like today, you’d rather have the place to yourself.

Sometimes in the midst of proving you’re a model citizen to anybody who looks your way, you forget that there’s a reason you weren’t. It wasn’t a good reason. Your family wasn’t rich, but you always had what you needed and some of what you wanted. Your parents weren’t perfect, but they loved you. You weren’t the most popular kid at school, but you always had someone to talk to. And none of that mattered, because you felt hollow and miserable and lonely no matter what else was going on around you.

Nothing you did or said could make you feel better. Everything felt the same, and everything felt awful, and no matter how hard you tried to explain, to ask for help, to raise the alarm, you couldn’t get your point across. You had a good life. What did you have to complain about?

The judge who handed you your first conviction said pretty much exactly that. You’ve heard that the sentencing guidelines for minors have changed, that untreated mental health issues are considered a mitigating factor these days, but back then it didn’t matter at all. You got help at some point. You take your meds like you’re supposed to, and you did therapy until you realized the people who monitor your probation were reading your notes. And you’re older now. You know the hollow feeling goes away. But that doesn’t mean it’s any easier to tolerate when it’s here.

You’re hanging out behind the counter, staring at your most recent mural and wishing you’d chosen something less cheerful than the field of wildflowers that’s currently decorating it, when the door opens. You barely have time to get your game face on before Shimura Tenko steps up to the counter. “Um –”

“How many heroes are you friends with?” Shimura asks shortly.

“I’m not friends with Present Mic,” you say. “That was a spot check. He’s my probation officer.”

Shimura blinks. He has crimson eyes and dark lashes, matching his dark hair. “Huh?”

“My probation officer,” you repeat. “I’m a convicted felon.”

“Don’t lie. They’d never let a convicted felon run a coffee shop.”

“I got a loan,” you say. “Through the Nonviolent Criminal Rehabilitation Act. It says so on the sign.”

“Your sign says free internet access.”

“Underneath that.” You wonder if it’s really possible that Shimura didn’t see the other sign. Maybe he was just too hyped at the prospect of free internet to look any harder. “How long have you lived here?”

“Five years.” Shimura looks defensive now. “What’s it to you?”

Five years, and you never saw him before today. He must keep to himself. “Nothing. I just – I thought everybody around here knew. I’m not very quiet about it. I’m not allowed to be.”

“Why not?”

You don’t want to do this right now, but rules are rules. “Part of the Reintegration Act involves educating civilians about where criminals come from – like, how a person goes from you to me.”

Shimura snorts. It’s rude, but not anywhere close to the rudest thing someone’s done to you when you talk about this. “The government thinks the people who are best equipped to educate about this are the actual criminals, so I’m legally obligated to answer any questions people ask me – about my record, about why I did it, about the program and why I’m doing that. So they understand what’s happening and why it’s happening. For transparency.”

“And that means anybody can question you, any time,” Shimura says, eyes narrowing.

“Yep. Stop, drop, and educate.” You wait, but he’s quiet, and you’re tired enough and hollow enough that the suspense gets to you first. “You can ask what I did. I have to tell you.”

Shimura nods – but then he doesn’t ask. About that, at least. “It’s dead in here. Did Present Mic clear everybody else out?”

“No. It gets quiet on sunny days when the tide’s low.” You nod through the window, and the sliver of beach visible between the buildings across the street. “I was thinking about closing early.”

“Why?” Shimura’s voice holds the faintest shadow of a sneer. “To walk on the beach?”

To lay facedown on your bed and wait for tears that won’t come, and won’t make you feel any better if they do. “Now you’re here, so I’m open. Do you want the usual?”

Shimura hesitates. Then he shakes his head. “Go home.”

“I’m open,” you repeat. You don’t want him to complain to Present Mic like the actual porn guy did. “Do you want the usual or do you feel like something new?”

“The usual.”

“Come on,” you say. He glares at you over his mask. There’s an old scar over his right eye. “There’s nobody here. Nobody’s going to catch you drinking something that actually tastes good.”

“The usual,” Shimura Tenko says, and crosses his arms over his chest. “And –”

He glances at the pastry case, and you see his expression shift into disappointment. It makes you sadder than it should, but you can fix it easily. You slide the babka you saved on the faint hope that he’d come back out of hiding and into full view. “One of these?”

Shimura stares at it for a full fifteen seconds before he looks up at you. “You saved it for me.”

“Yeah.” You pride yourself on knowing what your regulars like. You don’t want someone you see a few times a week to leave unsatisfied. “One babka and one black coffee, coming up.”

Shimura holds out his card, then hesitates. You’ve never seen him look uncertain at all. “And whatever you think tastes better than black coffee. One of those.”

“Really?” You can’t hide your surprise, or what an unexpected lift it is for your mood. “You won’t regret it. Which flavors do you like?”

“I don’t care.” Shimura waits while you swipe his card, then tucks it away. “This was your idea. I’m going – over there.”

He gestures at the back corner. “I know where you like to sit,” you say. “I’ll bring it out.”

As soon as he leaves, you get to work. You need to nail this. He’ll laugh at you if you bring him a tea latte, so it needs to have an espresso base. What goes well with babka? You already have chocolate and cinnamon on board – what about caramel, or hazelnut? Does he even like sweet things? He must, if he keeps ordering the damn babka. Maybe hazelnut, but what if he’s allergic? You pitch your voice to carry and see him startle. “Do you have any allergies?”

“Not to food.”

You wonder what he’s actually allergic to as you start pulling espresso shots for a chocolate hazelnut mocha. You really hope Shimura likes Nutella, because that’s exactly what this is going to taste like. Using bittersweet chocolate syrup instead of milk chocolate fixes it partway, but when you pour off a tiny bit to try it, it still tastes a lot like something you’d eat out of a jar with a spoon.

Whatever. You’re committed now. You don’t have a choice. You pour it into a cup, make some vague gesture at foam art, and carry it and the black coffee through the empty café to Shimura’s table. “One black coffee and one drink that actually tastes good.”

Shimura eyes the second cup. “What’s in there?”

“You said you didn’t care.”

“Yeah, well, now that I know you’ve done time I’m not sure I can trust you,” Shimura says, and you lock your expression down. That one hurt. A lot. He drags the cup towards himself with his right hand and lifts it to his mouth as he pulls down his mask with his left, but you’ve lost interest in the outcome. You turn and head back to the counter, trying not to feel like someone’s slapped you in the face and convincing yourself at least a little that it works.

You screw around behind the counter, taking inventory and counting down the minutes until last call, but Shimura’s back at the counter with forty-five minutes to go, an empty cup in his hand. It’s not the cup you put the black coffee in. “Fine. You win. I want another one of these.”

“Yep.” You set your clipboard aside and head back to the cash register to ring him up. “For here or to go?”

“Here.”

“I’m closing soon. To-go’s probably better.”

“Are you kicking me out?” Shimura asks. You look up at him, make eye contact, and whatever he sees in your face sets him off. Not in the way you thought it would. “Before, about the doing time thing. You know I was kidding, right?”

“Sure you were. Do you want a receipt?”

“Hey,” Shimura snaps. “It was a joke.”

“Not a good one.”

“Yeah, it was. If you –” Shimura breaks off, his scowl clear even from behind the mask. “Look, I’m sorry, okay? I wouldn’t have said that if I didn’t get it.”

“Get it,” you repeat. “You’ve done time?”

“Yeah.” Shimura Tenko covers the back of his neck with one hand. “No charges, but – yeah, I did time. So it’s funny.”

“It’s still not funny.” You lift the empty cup out of Shimura’s hands and turn to start making a second Nutella-esque mocha, trying to decide if you feel better or not. “It’s just not mean.”

A shadow falls across you as you work. Shimura’s following you along the edge of the counter. “So am I getting kicked out or what?”

“Yes,” you say. “In forty-five minutes, when I close.”

Shimura’s eyes crinkle ever so slightly at the corners. You wonder what his smile looks like under that mask, but you’ve got espresso shots to pull, and you need to focus if you don’t want to burn your hand. You look away, and when you look back again, he’s at his table, laptop open, mask on, chin propped in his gloved hand. No charges, but he’s done time. You didn’t expect that. Even though you’ve spent the last five years of your life trying to prove that you’re no different than anybody else, it still catches you by surprise to learn that one of your customers is like you.

You bring the second drink by his table, then start working through your closing checklist. He stands up with five minutes to go, just like clockwork. He leaves without another word, as usual, but when you step outside, he’s still standing there. “You didn’t ask why.”

Why he did time? “Neither did you,” you say.

“Yeah, but I won’t break probation if I don’t answer.”

“It’s the principle of the thing,” you say. It’s not quite dark, but the sun’s almost down, and the shadows are growing long. Late March already, but it feels like you’ve got a long way to go before spring. “If I want people who meet me to look at the person I am now, I have to do the same thing for them.”

Shimura Tenko makes a sound, half-laughter and half-scoffing. “They sure did a number on you,” he says. You turn and walk away, and his footsteps follow yours. “Hey. Come on. There’s no way you’re that sensitive.”

“I’m not,” you say. “I’m just having a bad day.”

A bad day, and you never get a day off. Even if the café’s not open, you’re still in sunshine mode every second, making sure that the people who want to treat you like a criminal look absolutely insane for doing it. You fought hard for this life. You’re glad you fought for it. And today more than usual, you’re just really tired. “I’ll see you later, okay?”

“Yeah,” Shimura says. You’re glad he doesn’t try to apologize again. You know it would be painfully insincere. “How did you know?”

“Hmm?”

“The pastry. How did you know I’d come back?”

“I didn’t,” you say. “I just hoped you would.”

You don’t know why you hoped. Maybe because he’d clearly been waiting a while when you and Present Mic got back. Maybe because you remember how much it mattered to have somewhere else to go, whether you had a place of your own or not. Maybe because you’ve gotten sort of a sense of him over the past few months, and you know he’s the kind of person who pretends not to want the things he wants. Wanting the coffee shop he hangs out in to be open and to have his favorite pastry available is such a reasonable thing to want. You were hoping he’d come back so you could give it to him.

Shimura doesn’t say anything. You keep walking, and he doesn’t follow you. When you glance back over your shoulder as you round the corner, you see him standing just outside of Skyline Coffee and Tea, staring intently at something. You can’t say for sure. But you’re pretty sure it’s the sign that explains about the NCRA.

A while back, you read that some countries set aside two days to commemorate a war. One day to celebrate that it ended, another to mourn that it happened at all. When it comes to the war you lived through, Japan does things differently. There’s just one day, a national holiday, where every government office closes and most businesses do, too. For most people, it’s a day to celebrate. There are carnivals, street fairs, concerts, parties. It’s been a holiday for exactly four years and a whole host of traditions have already sprung up around it.

But there’s one person who never celebrates, and it didn’t take you long to come around to his way of thinking. On April 4th, the fifth annual Day of Peace, you close the café early and make the trek to Kamino Ward.

You’re not sure how Kamino Ward became the place. Maybe because the final battlefield’s been overtaken by celebrations, and at least some people still see Kamino as hallowed ground. The place where the Symbol of Peace made his last stand. The place where the Symbol of Fear passed the torch onto his successor. You get there a little while before sunset, and you join the hundreds of people who’ve already gathered there. The crowd looks smaller than it did last year, and it hasn’t grown much by the time Midoriya Izuku, known to the world as Deku, climbs onto the steps leading up to the All Might statue’s plinth.

Someone hands him a microphone, which he takes with hands that tremble ever so slightly. He’s only twenty-one, and he looks old before his time. “I’m here,” he starts, then swallows hard. “I’m here because we didn’t win. Not really. If you’re here instead of at a party somewhere, I think it’s probably because you lost something. Something, or someone, who was important to you. Something you can’t get back.”

It’s quiet. It’s always quiet after he says something like that. “I’d like to think we did something. That we changed for the better,” Deku continues, “but I think we can only say that if we don’t forget what we had to lose for it to happen. So, um – you know the drill. If you brought a candle, great. If you didn’t, we have some. You can say the thing you lost if you want – we have a microphone – but when you’re done, light the candle and put it down somewhere that feels right to you.”

He takes a deep breath, lets it go. “And then you can go. But I’ll stay until they all burn out.”

People swarmed the first two years. This year they form a line, stepping up to light their candles one by one. You never know what to say when it’s your turn, because it’s not something specific you miss. The way things used to be was awful. You don’t miss that, and you weren’t close enough to anybody to lose someone who mattered in the war. But April 4th has never felt like a happy day. It feels wrong to you to be setting off fireworks and throwing parties in response to a war that almost destroyed the world.

A lot of people say names when it’s their turn to light a candle. Some say places. Some share an ideal they lost, a hero they venerated who fell from their pedestal, a dream they had that will never come true. Each lost thing named is met with respectful silence. But just like last year and the year before, there are three names that aren’t, no matter who says them. “Big Sis Magne. Bubaigawara Jin,” says Toga Himiko as she lights her candle. Say Todoroki Touya and Sako Atsuhiro and Iguchi Shuichi, who still answers to Spinner, as they light theirs. “Shigaraki Tomura.”

There’s always whispering after their names, especially Shigaraki’s. But Deku always goes last, and Deku always shuts them up. He lights his candle and grasps the microphone, speaking clearly, firmly. “Shigaraki Tomura.”

You remember what Present Mic said, about how Deku never got over failing to save Shigaraki. Deku was sixteen when he won the war. Still a kid. Was saving Shigaraki really his job? Maybe that’s the point of all this. It was everyone’s job to stop villains like Shigaraki from being created, and you all failed, so it fell to Deku – and he failed, too. It’s one big, sad, ugly mess. When you’re honest with yourself, you’re not surprised that most people try to cover it up with fireworks.

People begin to filter out of the memorial park, and you find a place to sit down. It’s not like you have somewhere else to go. The others who say settle in as well, in small groups amidst the rows and clusters of candles. You’re within earshot of one of the groups. Without meaning to, you find yourself listening in.

“They’d have hated this,” Todoroki Touya is saying, his voice low and bitter. “Every second of it.”

“Big Sis Magne wouldn’t have. And Twice would have liked it,” Toga Himiko says. Her voice is soft. “All the candles. He’d say it’s like his birthday.”

“Yeah. Sure.” Todoroki Touya’s voice goes even quieter. “Do any of us know when his birthday was?”

It’s quiet. “Shigaraki would hate this,” Todoroki states. “You know he would. What did he tell you to tell Spinner, Deku?”

Deku doesn’t answer. Spinner does. “Shigaraki Tomura fought to destroy until the very end.”

“Yeah,” Todoroki says. “To destroy. And Deku made him a martyr.”

“He destroyed a lot of things,” Deku says quietly. “All For One is gone. One For All, too – there’s never going to be another Symbol of Peace. He destroyed the way we saw villains. We don’t just get to look at what they’re doing right now. We have to think about how they got there. And he destroyed how we saw ourselves.”

“Yeah?” Spinner says. “How?”

“We didn’t think we were responsible for other people,” Deku says. “Now we have to be.”

It’s quiet again. This time it’s quiet for a while. “Whatever,” Todoroki says. “I’m going home. See you all at the next sobfest.”

“He always says that,” Spinner says, once his footsteps have faded. “He’s gonna get tanked at home and text us just like he did last year.”

“I miss Tomura-kun,” Toga says, her voice softer than before. “I thought we’d all be together at the end.”

“I know,” Deku says. “I’m sorry.”

“And you’re sure –” Spinner breaks off. “You’re sure you couldn’t get his ashes or something? So we could –”

“There was nothing left of Shigaraki,” Deku says. “I’m sorry.”

“Yeah,” Spinner says. Toga sniffles. “We know.”

The group splits, Toga in one direction, Spinner in the other. A moment later, Deku walks past you, and you do everything you can to fade into the background short of turning yourself camo-colored. It doesn’t work. “Did you hear all that?” Deku asks. You nod. He sighs, or sniffles, maybe. He looks younger up close. “You were here last year, right?”

“And the year before,” you say. The longer you look at him, the worse shape he’s in. “Um, are you okay?”

“It’s just –” Deku’s eyes well up, suddenly. “It’s hard. I can’t say what I want to say to them.”

“Why not?” you ask stupidly, and he shakes his head. “Um – do you want to sit down?”

You wouldn’t ask another hero that, but you feel like it’s worth the risk. Even though he’s twenty-one, you can’t look at him and see anything other than a kid, and it feels wrong to let a kid stand there and cry. Deku sits down next to you. “I know I’m not supposed to ask,” he starts, his voice watery, “but you never say anything when it’s your turn. Most people don’t come here. Even the ones who lost somebody would rather be at a party somewhere. Why do you come back?”

You have to think about it for a second. Deku cringes. “Sorry. You don’t have to answer.”

“I sort of do.” It might hit your probation requirements, and even if it doesn’t, you should explain anyway. “What you said earlier, in your speech – I’m one of the people the world got better for. My life would have been awful if it had stayed the same. But in order for me to have this life, we had to have the war.”

“What did you do during the war? Were you in a shelter?”

You shake your head. “The shelters banned people with criminal records,” you say. Deku’s eyes widen. “Nowhere would let me in.”

It wasn’t all that different from the way you were living before – not much food, not very safe. The only difference was a sharp increase in the number of abandoned buildings for you to crash in. But it looks like you’re making Deku feel worse, not better, and you scramble into part two of your explanation. “I’m one of the NCRA participants. That program only exists because of the war – and you, because you won’t let people forget why the war happened. So I want to remember why the war happened, too. And I want to honor it. Them.”

“Him,” Deku corrects, and your stomach clenches. “I wonder what he thinks of all of this. If it’s enough. If it’ll ever be enough. I mean, obviously it’ll never be enough for him, because he doesn’t – I mean, I can’t ask him, but I know he can see it. I don’t know where he is, but if I could just ask him –”

You didn’t realize Deku believed this strongly in the afterlife. You sit quietly, and after a few seconds, he remembers you’re there. He glances at you, embarrassed. “Sorry.”

“It’s okay,” you say. “Do you not get to talk about it very much?”

“No,” Deku admits. “People want to move on. And I don’t really blame them. But I can’t. Not until I know for sure.”

It’s quiet for a little bit. He wipes his eyes. You watch the candles flicker down a few millimeters more. “You’re in the NCRA,” Deku says finally. “For job training, or did you get a loan?”

“I got a loan,” you say. “I run a coffee shop now. With free WiFi.”

“Do people like it?”

“I think so,” you say. You think of the kids who come to study, the people who use the WiFi for remote work, the old people who walk the beach every morning and stop by for coffee and pastry afterwards. “I have regulars, anyway. And people talk to me now. They never used to.”

“People talk to me now, too,” Deku says. “It’s nice.”

“Yeah,” you agree. “It is.”

It is, but it’s not quite what you meant, and you don’t want to interrupt when Deku starts talking about the NCRA. It’s not just that people talk to you. They talked to you before, but now they see you – not as a criminal, but as a person like them, minus the squeaky-clean record. That’s new, and that’s good. You know even less about Shigaraki Tomura than Deku does, but even if he’d hate what’s happened to the world he wanted to destroy, you’re thankful anyway. The world is better now. It’s better because of Deku, and Deku’s the way he is because of Shigaraki.

There are fireworks going off over the bay, distant enough that you can’t hear the sound. Closer than that, you hear music and laughter from a street party you passed on your way here from the train station. Deku trails off after a while, and you don’t speak up again. The two of you sit in silence until the last of the candles burns away.

You get home late, and it’s an early morning opening up the café. Luckily for you, everybody else is also running late courtesy of the holiday yesterday. Osono comes by fifteen minutes off-schedule and full of apologies, and while you’ve got your doors open by seven, it’s not until seven-fifty-eight that your first customers come through the door. It’s a double shot of espresso kind of day, and while you’re pulling them, your customers tell you about the parties they went to last night. When they ask what you did, you tell them you went into the city. It’s not a lie.

After the slow start, the shop stays quieter than usual, quiet enough that when Shimura Tenko rolls up just past noon, there’s still plenty of babka left in the pastry case. You start his order before he’s even opened the door – one black coffee, one Nutella-flavored nightmare – and he stops to drop off his stuff at his usual table before he comes up to the counter. You can tell he’s disquieted by something. “Did Present Mic come by and scare everybody off again? How are you going to keep this place open if no one’s here?”

“Mornings are a lot busier than afternoons,” you say. “And spring’s my quietest season, anyway. No tourists like there are in the summer, and it’s not very cold.”

“Yeah.” Shimura glances around, still displeased. “This place had better stay open.”

“It will,” you say. “One shot of espresso or two?”

“Three.”

“Three? It’s your funeral,” you say, but you pull the extra shot. “Late night last night?”

“I went to a party,” Shimura says. You nod. “It was my birthday.”

“Happy birthday.” You cancel half his order. You give people a free drink on their birthday, if you know it and they come in. “Your birthday is April 4th? That’s a tough draw, especially the last few years.”

“You’re telling me.” Instead of retreating to his table like usual, Shimura hovers at the bar. “What about you? Did you go to a party?”

You shake your head. “I went into the city.”

“Which city?”

“Yokohama,” you admit. Shimura’s eyes narrow. “I go to the vigil at Kamino. I have every year they’ve done it.”

“Really,” Shimura says, skeptical. “Why?”

Deku asked you the same question. You have a feeling Shimura won’t like the answer, but it’s the only one you have. “My life is better than it was before the war, because of what happened in the war. I want to be thankful for that. It doesn’t feel right to me to go to a carnival.”

Shimura doesn’t say anything, just watches you. It makes you feel weird. “If I’d known it was your birthday, though, I’d have gone to a party for that. It was your birthday way before it was the Day of Peace.” You’re babbling, and Shimura still hasn’t said a word. “Not that you’d invite me to your birthday party or anything.”

“I didn’t know you’d want to go,” Shimura says slowly. The espresso machine beeps, and you focus on it way harder than you’d do under ordinary circumstances. “Look, I – it wasn’t my party. Just a party. It’s not like I went in a fucking birthday hat.”

“That would look pretty weird with your hood still up,” you say. Shimura makes an odd sound. You look up and see the corners of his eyes crinkling again. “Still, though. I’ll remember for next year. I’ll get a cupcake or something. Even if you don’t want somebody who’s done time at your birthday party.”

Shimura laughs at that. Actually laughs. Your chest constricts, filling with warmth in a way that feels out of proportion to the situation at hand. “I only want people who’ve done time at my birthday party,” he says. “Don’t try to give me that drink for free. You letting this place go under would be a shitty birthday present.”

“Too late. It’s already free and I’m not rerunning the sale.” You pour the black coffee and set it down on the pickup counter, followed by the godawful Nutella drink. “Happy birthday plus one.”

Shimura rolls his eyes, but they’re still crinkled slightly at the corners. He doesn’t respond until he’s already halfway back to the table, and he’s so quiet that you have to strain your ears to hear. “Thanks.”

You should say something. Something like “you’re welcome”, or “any time”. Something that sounds like good customer service, instead of what you’re worried will come out of your mouth if you open it right now. The conversation is over. Nothing else needs to be said. You turn to face your small workspace, searching for a distraction. There has to be something you can clean.

It’s been so long since you had a crush that you barely remember what it’s like, but you’re pretty sure you have a crush on Shimura. As far as crushes go, he’s kind of a weird pick – because he’s a customer, because he’s not the friendliest, because he hasn’t given any indication that he likes you at all. He likes babka and free internet and the horrible off-menu mocha you make just for him. That’s it.

It feels weird to have a crush. Weird in how normal of a thing it is to do, when you’ve been so focused on looking normal and pretending to be normal that you haven’t done anything actually normal in a while. But maybe this is a good thing, and maybe it’s okay. You might get released early from your NCRA requirements, and even if you don’t, you’re doing well. You can afford to like somebody again.

The café stays quiet, and with two hours left before closing time, you’re getting bored. Bored, and you haven’t switched out the mural since before your last check-in with Present Mic. Now’s an okay time for that. You scribble a sign to prop up on the counter – I’m here, just yell – and head towards the back wall. You have to pass Shimura to get there, and as you do, he looks up. “I’m not looking,” you say. “I’ll just be over here.”

“Doing what?”

“A new mural,” you say. “Pretend I’m not here.”

Shimura decides to start right away, and you flex your fingers more out of habit than anything else. Then you set your hand on the wall and activate your quirk, changing the entire wall from the wildflower mural back to the same blank neutral as the others. That’s a good start. Now you just need to figure out what you’re going to do with it.

Actual muralists sketch and line their work. They work from references and they draft the design before they actually start painting. You know that because you used to want to be a muralist yourself. You could sketch and line things, but these days you’re more about feelings than anything else, and feelings take color. You block the wall into a few sections – you remember to do that, at least – and fill in general colors, running your fingers along the edges to blur them together. Grey base and sides. Dark-colored middle. The entire upper half of the wall is light. It’s not until you’ve added the half-circle above the horizon that you get a real understanding of what you’re making.

It's another cityscape, or the ruins of one, something you saw in photos or maybe in person. It looks a lot like the sunrise view from Kamino Ward, the sky on fire with deep purple and orange and pink and gold, the reflection of those colors splashed across the sea, the wreckage of the city bathed in morning light. You’ve done enough therapy to psychoanalyze yourself, and it’s not hard to see what you were going for with this. Things are horrible. Things were horrible for a long time before today, but the sun is still rising, and the sunrise is still beautiful. And it’s a lot easier to see now, with all the other stuff out of the way.

“That’s not paint.”

You weren’t expecting Shimura to say anything, and you weren’t expecting him to pay attention to what you’re doing. But when you look back over your shoulder, you see him staring, his phone set aside, the lid of his laptop shut. “It’s not paint,” you say. “Just my quirk.”

“How does it work?” Shimura asks. You turn back to your mural, and you hear him get to his feet. A moment later he’s standing beside you, answering his own question. “You can change the color of things you touch. And decide how long it stays that way.”

“Yeah.” After using it your whole life, you’re pretty good at it. You can fine-tune stuff, enough to add shading to the buildings and the rubble at the sides and bottom of the mural without compromising the light from the sunrise. “Not a very powerful quirk.”

“You could still cause trouble,” Shimura says. You could. And you did. “This is how you got your charges, isn’t it? Stuff like this.”

“Graffiti? Yeah,” you say. You remember the rush you got the first time you tagged something, the first time you spilled your thoughts and feelings in a way no one could ignore. “Except when you do that, you get charged with trespassing and vandalism, and when they figure out they can’t remove it, you get charged with destruction of property. Throw in malicious unlicensed quirk usage and – boom. Felonies.”

“That’s stupid.”

“Me or them?”

“Giving somebody a felony for painting stuff on walls.” Shimura studies what you’ve done so far. “All of these have been yours, right? Is this the same stuff you were painting before?”

“Not always,” you say. This conversation falls under your NCRA obligations, but it doesn’t feel like it’s the reason Shimura’s asking – and it’s not the reason you’re telling him. “When I first got into it, it was just words or sentences. Stuff I couldn’t figure out how to say out loud. The first time I really got busted, it was for tagging the side of my parents’ house.”

“Your parents called the cops on you?”

“And pressed charges,” you say. He’s staring at you again. You pretend you don’t notice and fuss over the shoreline in the mural. “I got better at it when I was older. The art got better, anyway. But I got in more trouble because of where I put it. And I guess what was in it.”

“Anything I’d have seen?”

“I don’t know. Where did you hang around?” you ask. You got booked in most of the big cities in Japan during your criminal career. “Uh, I did the UA barrier. The one with the – you know.”

“The human shields?” Shimura bursts out laughing. “Did you have a sibling in Eraserhead’s class or something?”

“No, I just thought it was stupid to do the Sports Festival a week after what happened,” you say. Shimura snickers. “It felt like they were using the kids as props to distract from how much of a mistake they’d made, and I was mad about a lot of other stuff, too, and – yeah. I kind of went off.”

You really went off. There’s no other way to describe triggering the UA barrier on purpose at two am so you could make a crude mural of All Might, Endeavor, Hawks, and Best Jeanist hiding behind a bunch of kids in school uniforms. Shimura is still snickering. “Damn. I’m surprised they call you nonviolent with how bad you hurt their feelings.”

“They had to replace the whole barrier,” you say, and Shimura wheezes. “I’m not trying to be funny.”

“No, but it is funny.” Shimura glances at you over the edge of his mask. “And now you run a coffee shop and make things like this.”

He looks away from you, back to the mural. “Is this something real? It looks familiar,” he says. Before you can answer, his eyes widen, and he says it himself. “Kamino Ward. Why would you paint it like that?”

“It’s how I see it in my head. Or how I feel it. I don’t really know.” You reach out and use the tip of your index finger to highlight one of the buildings that’s still standing in sunrise gold. “What do you think?”

“I don’t know.” Shimura reaches out and touches it with one gloved hand. “People are going to be pissed at you.”

“If they recognize it.” You’re not too worried. “Most people just look at the colors.”

“I recognized it.”

“You’re not most people.”

You instantly wish you hadn’t said a word. Shimura Tenko glances at you quickly, then looks back to the mural. “Yeah,” he says. “I was there.”

Your stomach drops. “You were?” you repeat hopelessly, and he nods without looking your way. “I’m sorry. It’s – insensitive. I’ll take it down –”

“No.” Shimura catches your wrist before you can make contact with the mural. “Leave it. I was gone for this part. It’s a nice view. The horizon, I mean.”

That’s your favorite part, and you’re not even done with it yet. “I still have some stuff to add,” you say. Shimura nods but doesn’t let go of your wrist. You pull at it slightly. “I need this back.”

“Fuck. Sorry.” Shimura recoils like you’ve burned him, then backs away. Way too far away. You’d say he was making fun of you, except you can see his eyes over the mask, and they’re expressive in spite of his complete lack of eyebrows. “Sorry. I don’t usually – touch people.”

“It’s okay.” Your wrist feels tingly where his hand made contact, and there are butterflies in your stomach. He doesn’t usually touch people, but he touched you. “Thanks for stopping me.”

Shimura turns away completely. “I have to work.”

“Yeah. I didn’t mean to distract you.”

“I know.” Shimura slides back into his booth. You turn back to put the finishing touches on your mural.

He’s right about it. In the hour left before you close, at least one customer who trickles in gives you a hard time for putting up something so upsetting. You listen to his concerns, but you stick to your guns, and when he sits down to wait for his order, you see him watching it. Just like Shimura is, the screen of his laptop long since gone dark.

[d3wdropz]

DIVINITY: PROLOGUE ~ SUKUNA X READER

a/n okay I'm very excited about this!

I'm planning on splitting up the story into a prologue, fight, smut, then epilogue. I love build-up and world building, not just the smutty stuff, so be prepared for more of a plot w/ porn set up- plans may change though and upload schedule will be chaotic so be prepared

hope you all enjoy!

pairing: True Form! Sukuna x Curse! Fem! Reader

word count: 2.9k

summary: Sukuna is feared and respected, a self-proclaimed "natural calamity". Shrouded in power and mystery, not much is known about him, other than the fact that if you bore him you'll likely face a gruesome demise.

Now where does that leave you? A powerful and new "natural calamity" as Sukuna would say.

content warning: no smut, fem! reader, canon-typical violence, descriptions of violence, blood, death, swearing, kind of anti-hero/villainous reader, canon! sukuna , slightly non-canon setting

credit to @cafekitsune for all the amazing dividers!!!

The Heian Era- a time that would later be recognized as the 'Golden Age of Jujutsu'. A period full of strong sorcerers- and curses.

Yet, no matter their strength, no one stood a chance against the reigning king: Ryomen Sukuna. The very mention of his name sent fear into those who heard it. While he stayed on top of the food chain, there was nothing to be done.

If a village wanted a chance at survival, they had expectations to uphold.

First: respect and fear the King of Curses. Even if he's miles away, when he is spoken of, it should be with care and respect. No one is sure if it's true, but there are tales of villagers speaking of Lord Sukuna in a lowly manner- only for them to be cut in-half before they could finish.

Second: his arrival should be met with offerings and praise. Not to feed his ego, but to give him a reason not to burn a town to the ground. If, for some terrible reason, a village has Sukuna housed within it, he is to be treated like a God. Anything less would mean the death of hundreds, such an easy act that Sukuna would do it with his eyes closed.

The third, and final, rule: everyone is beneath him. No one is allowed to look him in the eye, talk to him, or even breath too close to him. Weaklings are expected to know their place. If they forget, Lord Sukuna happily reminds them of his strength by crushing their windpipe with one of his four hands.

No village has ever really strayed from these rules after they were made- not if they wanted to live. Due to this, Sukuna's arrivals come with a sort of schedule: an invitation made in hopes of gaining his favor, offering and celebration preparation, the 'festivities', and finally, his departure.

The latest, pitiful town Sukuna has found himself in is in their third stage. He's seated comfortably on a pedestal of sorts, with Uraume close by. If Sukuna were to be honest, he finds these kind of events boring and tacky. He can't help but sneer when he looks into a sea of sad, lowly, humans giving him hollow praise to stay alive.

As Sukuna sits in his head, he thinks that maybe he endures this because there's nothing better to do. Pillaging and bloodshed isn't fun if don't give yourself the chance to relax, ready yourself for the next venture.

Another perk of being invited to these celebrations: hearing gossip. It's no surprise that Sukuna is not a very social man, and Uraume is no better when they spend all of their time with him. So these short instances give him a chance to hear the latest news.

It's not like he would be ignorant to anything if he truly wanted to know. He just finds more excitement in finding things out when villagers whisper their gossip to one another- it also gives him something to do.

Lucky for him, the townspeople are bustling with news. Their voices are full of fear and concern. They try to hide it, try to keep Sukuna's attention on the various gifts they offer him. It's not enough, sadly, and he's becoming intrigued.

This distress isn't being caused by him, from what he can hear and tell. None of them have verified or given a name to what is on their minds, so Sukuna decides to wait it out.

Night falls by the time Sukuna finally knows what's going on. By now, the offerings have been made, the praises have been given, and this meant it was time for him to take his leave. Both him and Uraume can see the sweat bead on the elder's heads as Sukuna remains seated.

Uraume is confused as well, but is wise enough to not question or make a fuss- Sukuna does as he pleases, sometimes with no rhyme or reason. Their job is to serve him, and right now that meant refilling his cup.

Just as he's about to call it a night, fed up with waiting for something interesting to happen, Sukuna hears it. Some young, quiet girl was speaking with her friend as they cleaned up. Their conversation was of some new curse- 'if you could call her that' as they said- was causing chaos in a neighboring village.

As Sukuna continued to listen, the girl shared more. She informed her friend that the curse seemed to appear out of nowhere, one that no one recognized. The rumors are that she looks human, beautiful even! But she's really a cold-hearted monster. When her companion scoffs and claims this to be false, that if this were true more people would know about it, the girl argues back. She explains that this has all happened within the span of a day or two.

Sukuna quirks his brow, slightly surprised by this news. He didn't sense any new cursed energy, at least to the extent that this girl is speaking of. If some curse were to be close by with this much power, he would know. But, it would bring some much-needed entertainment if this rumor were to be true.

Just as Sukuna was about to rise from his seated position, he felt something shift. It was as if a balance inside of him tilted. He tensed up and looked to the source, sensing it's placement. Uraume turned to the direction, having picked up on the intrusion as well.

Within seconds, a shriek was heard. It was quickly cut off by the sound of clatters. The shift Sukuna felt morphed into a detection of cursed energy just as the scream died.

As if the yell was some kind of alarm, the village quickly fell into disarray as people ran away. Families held each other tight as they rushed to the center of town, right where Sukuna was seated.

He watched as their determined faces fell, filling with fear and despair as they were met with the sight of the King of Curses. It was easy to see that the villagers were now stuck between two deadly curses, having to chose which death they'd prefer.

Without hesitation, Uraume calmly creates a rush of ice that destroys all of the obstacles between them and the curse that's entered the village- leaving behind a small pile of dead bodies. It was a simple and effective move, the opponent is caught off-guard and usually frozen in the ice. Oftentimes Uraume freezes the curse until they're veins are frozen solid, an easy victory.

So Uraume is left shocked when they watch the ice fly back towards them. It's wasn't too fast, they're able to create a wall that protects both them and Sukuna. They try to analyze the curse, but it's hard to see them through the ice.

Before Uraume could speak, a joyful laugh rang through the silent village. To any human, it sounded innocent and childish. But Sukuna and his attendent knew better, they sensed the power oozing from the curse, the malice behind that laugh.

With his interest peaked, Sukuna stood up, towering over the wall of ice after he cuts it away. He's left intrigued for the second time that night when he sees a woman standing before him, now only about 300 feet away.

She looks to be about 20, but appearances can't be trusted when dealing with immortal cursed spirits. Her body is adorned in a loosely fitting, silk robe. It's large and ill-fitted on her, falling off one shoulder, showing off soft skin. There are unmistakable dots and splashes of blood that stain the front of the pristine and bright fabric.

Her laughter dies down as she wipes away a tear. When she looks up, her eyes lock onto one pair of Sukuna's. An amused smile spreads on her face as she stands tall.

"Well, I knew there was something interesting here. I could feel it," she spoke carelessly, twirling a strand of hair and cocking her head to the side, "I didn't think it would be this fun."

By now, the rest of the villagers have snuck away. This left an empty town, with only the sounds of fire crackling and the curses to fill the night.

Sukuna can hear Uraume sneer, disgusted by the disrespect coming from this uncivilized curse, "Have some decorum." Their voice is full of malice, as they ready for another attack.

Deciding to take this chance to observe the curse in front of him, Sukuna doesn't stop Uraume from using Frost Calm. He watches as the cold air quickly makes it way to their adversary. Both curses are left confused as the blast is halted just inches away from the woman's face.

The smile is quickly replaced by a glare and disgusted look. She glances at them, giving the Frost Calm in front of her little thought, "I didn't come here to fight some insignificant, little snowflake."

With that, she sent the attack right back at Uraume. This time, it was different. It was faster, more concentrated, and dripping with an immense amount of cursed energy. Left with no time to react, the smaller curse is sent flying backwards and into some buildings. Their impact is made worse as the ice encases them.

"Compared to the sheer amount of cursed energy you exude, that little pebble was nothing," the woman takes a few steps forward. Only now does Sukuna notice just how unproperly done her robe is. As soon as the binding at her waist ends, there's a large slit that reveals her legs, just short enough to hide her more intimate parts. Even with a lack of shoes, her feet and legs seem to be clean- in fact everything about her seems to be unblemished except for the blood. It leaves the Cursed King confused, but he easily drops it.

If Sukuna wasn't busy observing her and trying to figure out what exactly her cursed technique was, he would find her attire humorous and immature. It reminded him of Yorozu, her naked introduction still recent. A quick thought crosses his mind: is it some new trend for female curses to walk around half-naked? He knows he has no room to speak but at least he wears proper pants.

Coming out of his thoughts, Sukuna lifts his head and smirks ever-so slightly, "You're one to talk, woman."

Anyone could tell that this lady is a talker, and she returns his smile with a mischievous one of her own. "I wouldn't know, I'm new here," she stretches, raising her arms above her head, "All I know is that when I sense something strong- like you- I find it-" her eyes seem to shimmer as she stares into his own crimson ones, "and I take it."

With a little more time to stare into her eyes, Sukuna was able to detect what that excited gleam was: hunger. Some part of him felt a shiver run down his spin when she licked her lips and lowered her arms, "The stronger they are, the better they taste."

This leaves Sukuna chuckling under his breath, willing to humor her, "Aw, so that's it," in an instant, Sukuna is right in front of the woman, towering over her, "you're a dumb little thing that just came to life, hungry for power."

She held her ground, staring up at him confidently with a sort of excitement in her eyes, "I wouldn't say I'm dumb," in retaliation to his attempt at intimidation, she quickly pokes his chest. It was a gentle movement, something he wouldn't have even noticed. If it wasn't for the shocking strength he felt as he was forced to lean back. "but you would be right about the other thing, I just came to be about three days ago."

For any other curse, they would have been sent flying a few meters back. If she were to have used that move on a human, their chest would have been shot open from the force. This interested her even more as she took a simple hop back, only for her to fly high into the air. She then sat herself on a nearby roof, leaning her head on her knees.

"You're the most interesting thing I've found, none of the others could talk, or lasted that move," she grinned down at Sukuna.

Both of them knew this was just banter. The fighting hasn't quite commenced yet. They seemed too invested in the other, neither ready to kill and miss out on this opportunity to chat.

Sukuna glances up at her, crossing a pair of his arms, "Is that meant to impress me, woman?"

She only gives him a cheeky smile, "Not at all, I can tell that you're powerful, feared. Something like that would do nothing to sway you from fighting me." She closes her eyes thoughtfully, "I am curious as to who you are, you'll be the first thing I've ever cared enough to remember the name of. The first. . . 'curse'- if what the humans call me is true- that makes me need to try out my abilities."

His excitement only intensifies- this woman is something else. Sukuna can tell that this battle will be one for him to remember. It won't be simple, one-sided, and consist of him using his cleave to destroy his enemy in a second. He'll really get to go all out, get to have fun.

A rumble reverberates in his chest, a chuckle, "I'm your king, woman." Sukuna slicks his hair back out from his vision, smirking at and teasing the younger curse which only grows as she furrows her brows in anger.

She raises her hand lazily, keeping it level to her head, "You're getting annoying." The woman thinks for a second, before a smile graced her face, as if a light-bulb went off. She stands up from her seated position and jumps to the ground.

Out of annoyance, and some respect for her confidence, Sukuna averts his eyes from her figure as the wind blows her robe about. It doesn't reveal much, and Sukuna might be a tyrant, but he still likes to think of himself as a chivalrous adversary.

When she's on the ground again, she walks right up to him again. Her hands a clasped in front of her, joyfully. In any other circumstance, she would be a puddle of blood for getting this close to the King of Curses. But, Sukuna must admit that her presence has provided him entertainment for the night. So he allows it.

"I know! If I beat you, you'll tell me your name. If you win, I'll tell you mine. I'd love to continue this conversation, as you're the most fascinating thing I've come across in my short life. But- I'm itching to have a little fun." Sukuna listens to her ramble, rolling his eyes at her proposition.

Now, Sukuna can't help but find this plain hilarious. This stupid, little curse is making a simple bet and placing her life on the line. He could almost smack her on the back of her head from how absurd it sounds- but, if he were to agree, he'd get to truly see her abilities.

With a lop-sided grin, Sukuna extends his hand, imbuing it with cursed energy in preparation for the binding vow. He watches as confusion washes onto her face as she stares at his hand.

"What are you doing?" her voice is laced with frustration and bewilderment.

His brows raise before he lets out an exasperated sigh, "I forgot you're new- this" he nods his head to his hand "is a binding vow. It's a promise made with cursed energy that requires us to fulfill it. In this instance, it makes you're silly deal something that must be upheld."

She nods in understanding, taking an extra second to study his hand. She then shakes it, both of them taking a second to feel the difference in hand sizes. Hers is dwarfed within his, practically invisible when held in Sukuna's. This brief touch is also a chance for them to feel the others cursed energy on a closer level, more personal.

From what Sukuna could pick up on, before he dropped her hand, was that this wouldn't be an easy fight. He's both put on edge and roused by the amount of cursed energy coursing through her veins. What makes it even better is that she's completely unaware of the power she's holding.

He can't wait to be the person that forces her to unlock it.

The two take a few simple steps back. Sukuna grips his kamutoke in one hand, readying for battle. The woman, on the other hand, stands gleefully in place. She has no weapon, isn't readying any chants or dances, hell- she doesn't even look serious.

Even with her immature behavior, the female curse looks her enemy in the eyes with an intensity Sukuna's only seen in few. She puts her hands on her hips and tilts her head, "Ready?"

Sukuna nods with content, watching from the corner of his eye as Uraume finally begins to make their way over again. The look he shoots them is enough for the servant to realize this wasn't something for them to interfere in. Instead, they stand in the background, ready to jump in whenever their master needed.

As both curses begin to emit immense amounts of cursed energy in preparation for the fight, Uraume can't help but notice a new emotion reflect in Sukuna's gaze. It's something they've never seen him express before, though most ordinary people usually experience it many times. It leaves them confused and wondering what the hell conspired while they were incapacitated.

The thing that's left Uraume stumped, that's making it's first appearance in the Cursed King's eyes, is admiration.

Admiration for the curse that's about to battle with him to the death.

final notes okay! wow- i'm sorry this took so long! i'm happy to get this ball rolling though, be prepared for some fighting and more explanation in the next part!

oh- also i hope sukuna isn't too ooc in this- it's hard to get that guy down!

hope you enjoyed!

[incorrectbatfam]

Hello! While scrolling between random hurt/comfort fica I stumbled into a batfamily one and decided to give it a shot and now I am curious about this fandom! Never read any dc/marvel comic and watched maybe a couple of superhero movies so I have basically 0 knowledge about batman except that Robin is his apprentice but also apparently there's multiple Robins??

Can I have a general fandom/family introduction? I'm very confused but also really curious since I'm an avid found family enjoyer :)

What the heck is this fandom?

If you're reading this, you probably either a) want to get into comics but aren’t sure where to start or b) found yourself plopped in the middle and don't know what's going on.

DC Comics encompasses a wide range of characters and storylines with varying levels of popularity, and is home to some of the most iconic figures like Superman and Wonder Woman. What often happens in the DC and Marvel fandoms is that rather than trying to engage with everything, many fans will have a certain subset of content that they focus on. Sometimes it's a single character, sometimes it's a team like the Justice League, or sometimes it's a superhero family unit such as the Flash Family.

This blog primarily focuses on the batfamily, which is the group of characters that operate as Gotham City vigilantes centered around Batman. Some are legally/biologically related, some aren't. Generally speaking, the batfamily fandom is one of the larger subgroups within the DC fandom because so many of the comics revolve around these characters.

Who is Batman?

Are you living under a rock

Batman, AKA Bruce Wayne, begins with the infamous tragic origin where his parents were shot dead in an alleyway when he was 8, leaving him an orphan to be raised by his butler/surrogate father figure, Alfred Pennyworth. Once Bruce got a little older, he donned the costume to deal with criminals directly and bring justice to the city.

His civilian identity is Bruce Wayne, the (and I say this begrudgingly) billionaire CEO of his family's company, Wayne Enterprises. The company makes a little of everything and keeps Gotham afloat with job creation and philanthropy. Nothing unethical about one rich guy running an entire city.

His alter ego is Batman, and he uses his wit and extensive training to fight an array of both petty criminals as well as big-name villains like the Joker, the Riddler, Two-Face and more (collectively known as the Gotham Rogues gallery).

NOTE: some former villains, like Harley Quinn, have been rebranded as anti-heroes.

Batman operates out of a hidden cave (yes, a literal cave) under Wayne Manor known as the Batcave. This is where he keeps all sorts of high-tech paraphanalia, including his Batmobile, bat-plane, batarangs (bat boomerangs), and a powerful computer known as—you guessed it—the Batcomputer.

Batman's primary love interest is a former villain known as Catwoman, AKA Selina Kyle, who is a master thief. (Her backstory includes growing up with an abusive father and turning to stealing for survival.) She's since reformed and has been indicted into the Justice League. They're really cute if you don't think about how they're technically two furries who roleplay as cops and robbers.

NOTE: in an alternate timeline, Bruce dies as a child in that alley as Thomas Wayne becomes Batman while Martha Wayne becomes the Joker.

Okay, what about... Robin? Robins?

There's a lot to unpack here.

The OG Robin is Dick Grayson. Yes, we still call him Dick in the year 2022. He was a child acrobat who was part of a trio, The Flying Graysons, with his parents, John and Mary, in a traveling circus called Haly's Circus. Haly's stopped in Gotham, where a crime boss named Tony Zucco tried to get them to pay protection money. When Haly refused, Zucco sabotaged the trapezes and Dick's parents fell to their deaths. Bruce was at that show and because Orphans Unite or whatnot, he takes little Dick under his wing as a ward (not legally adopted at this point, Bruce is in his early to mid 20s). Dick joins Batman's crusade as the colorful pantsless sidekick known as Robin. As Robin, he also became the leader of what would eventually be a multigenerational superhero team known as the Teen Titans.

The second Robin is Jason Todd. He grew up in Gotham's notorious Crime Alley, where his mother, Catherine, was a substance user and his father, Willis, was an overall piece of garbage. After his father goes to jail and his mother dies of an overdose, Jason is essentially an orphan left to fend for himself on the streets. His run-in with Batman happens when he tries to steal to Batmobile tires to sell, and instead of getting punished, he gets adopted. Legally, this time. So while Dick is the oldest, Jason is Bruce's first kid. Jason takes on the Robin mantle and fights crime, yada yada. What he's well-known for is his death, where he set out to Ethiopia to find his biological mother, Sheila Haywood, and is killed by the Joker. Then Superman breaks reality and Jason comes back to life, spends some time with the League of Assassins, and gets rebranded as a crime lord/anti-hero with a hell of a grudge against Bruce for not avenging him.

While Jason was dead, we get our third Robin and the first one with pants: Tim Drake. Tim is actually Bruce's neighbor (the way rich people can be neighbors with spaced-out properties). He grew up with wealthy but neglectful parents, Janet and Jack Drake, who often left Tim home alone as a small child while they went on their archeology expeditions. Tim takes an interest in the Gotham vigilantes and sets out to follow them around and gather evidence to figure out who they are. Eventually, he deduces Bruce, Dick, and Jason's identities by some moves unique to the Flying Graysons. Then, Tim basically blackmails Bruce into letting him be Robin and has his own teenage superhero team called Young Justice. After the Robin title is taken away from him, he becomes Red Robin (yes, like the restaurant chain) and while everyone thinks Batman is dead during this time, Tim is the only one who believes otherwise. Also, his mom drinks poison, dad is killed by a boomerang, best friend is killed by an evil clone, other best friend is also killed by an evil clone, girlfriend dies (see below), assassins steal his spleen, and now he's bisexual and dating a boy who creates conspiracy theories.

NOTE: In an alternate timeline, Carrie Kelley becomes the third Robin.

Robin #4 is Stephanie Brown. She actually didn't become Robin until well into her vigilante career. She actually made a name for herself as Spoiler with the purpose of taking down her father, a D-list Gotham villain known as Cluemaster. Similar to everyone in this franchise, her childhood wasn't ideal as her father was always up to criminal activities and her mother worked a lot as well as (in some versions) used drugs. She later becomes the fifth Batgirl and then Robin before her death in the 2005 War Games comics, where she is killed when she seeks out a villain against Batman's orders. She then returns from the dead and goes back to being Spoiler. She also dated Tim and was a fairly long-running relationship before they broke up. She also had a teen pregnancy at one point (not by Tim) and had a daughter that she put up for adoption.

Robin #5 is Damian Wayne, the biological son of Bruce Wayne and Talia Al Ghul (daughter to Ra's Al Ghul, leader of a villainous organization known as the League of Assassins). Damian was raised in the League of Assassins for the first half of his childhood, where he was trained to be the heir to Ra's Al Ghul's empire. Talia brought him to Bruce when he was ~10 to refine his skills with Batman. However, that kind of goes awry when Bruce fakes his death and Damian is raised by Dick instead. Damian also becomes a Teen Titans leader as well as forms a friendship with Jon Kent, son of Superman (please read Super Sons, it's adorable). Damian is then killed by his oversized evil clone and is brought back to life on the planet Apokolips (no one stays dead istg).

Duke Thomas's relationship with the Robin mantle is a little more complicated. Duke first shows up as a really intelligent kid who solves one of the Riddler's puzzles. Later on, he becomes the leader (aided by Alfred Pennyworth) of a group of teenage vigilantes known as We Are Robin, who helped take care of Gotham crime while Batman was missing. His parents were, for a lack of a better term, disabled after one of the Joker's gas attacks (seriously, someone euthanize this clown). Bruce takes Duke under his wing and Duke rebrands himself as the Signal. He's unique from other Gotham heroes in a couple aspects: 1) he fights crime in the daytime instead of night and 2) he has photokinetic superpowers. (He's also dating one of the We Are Robins members, Izzy Ortiz.)

What about the others, like Batwoman and Batgirl?

Similar to Robin, Batgirl is a title held by multiple people. The first Batgirl was Bette Kane (who is now Flamebird), but the most well-known one was the second one, Barbara Gordon. Barbara (Babs for short) is the daughter of Gotham police commissioner Jim Gordon. Inspired by other Gotham heroes, she became Batgirl behind her parents' back and worked in tandem with Bruce and Dick, forming a relationship with Dick along the way. She became a quadriplegic after getting shot by the Joker but refused to step down from the field, instead using her intelligence and technological capabilities to surveil and provide intel under a new moniker, Oracle. She also has her own team, the Birds of Prey, which includes people like Huntress and Black Canary.

After Barbara, the next Batgirl is Cassandra Cain (who is also Bruce's only legal daughter in the main continuity). She is the daughter of David Cain and an assassin known as Lady Shiva. Cass was raised by David within the League of Assassins and trained to be a fighting machine, similar to Damian. She was raised in isolation without speech or literacy, but can read body language really well. Her first kill was when she was 8, and that traumatized her so much that she ran away, wandering around until eventually reaching Gotham and becoming both Bruce and Barbara's ward. She holds other titles like Black Bat along the way but is most known as Orphan. She also befriends Stephanie, had a short relationship with Superboy (Conner Kent) and, like half the people here, dies and comes back. Depending on who you talk to, some people keep her lack of speech, some have her speaking, and some prefer an in-between.

Stephanie was Batgirl after Cass. See above.

Kate Kane is Batwoman and Bruce Wayne's cousin. She grew up similarly wealthy in a high-level military family, often moving around as a child. Her twin sister and mother were killed in a terrorist attack in Belgium, leaving her father to raise her. She got into West Point military academy but was expelled in her final year after coming out as lesbian under the Don't Ask Don't Tell policy. After that, she spent a year on an island civilization before returning to Gotham. After Batman saved her from a mugging, Kate bought some equipment on the black market and trained herself to become Batwoman. Also, we as a fandom don't talk about her flamethrower gloves enough.

NOTE: in an alternate timeline, Carrie Kelley was also Batgirl and Batwoman.

Harper Row is Bluebird, and similar to Batwoman, she is a mostly independent Gotham hero who was inspired by Batman. Growing up, Harper often had to take care of things like household repairs and look after her younger brother, Cullen, because their father was abusive and didn't do anything for them. Eventually, she sought emancipation and got them out of there, but things still weren't easy. She went to college, but had to drop out and get a job in order to provide for her and her brother. She became Bluebird after Batman saved her and Cullen, engineering her own weapons like a giant taser. Fun fact: she's bi and her brother is gay.

This is still really confusing. Who's who right now?

Canon sucks so here's what the fandom largely know them as:

Bruce is Batman. He might have some suit modifications or occasionally pilot a giant bat robot, but he's Batman

Dick is Nightwing. He took over as Batman for a short period of time, but after Bruce returned, he went back to being Nightwing we don't talk about Ric

Jason is Red Hood. That was actually the Joker's previous title but now Jason holds it

Tim is... usually Robin or Red Robin, it kinda depends on context. Canonically he's back to being Robin now, but a lot of us still refer to him as Red Robin

Damian is Robin. He had the alias Redbird at one point but everyone calls him Robin

Duke is the Signal. Again, there were some alias changes (like Lark) but he's the Signal around here

Stephanie is Spoiler, but again, it depends on context

Cassandra is usually referred to as Orphan, but you'll occasionally see Batgirl or Black Bat depending on who you talk to

Barbara was rehashed as Batgirl in recent canon but we all hate the disability erasure so you'll see a lot of us still call her Oracle

Harper is Bluebird. I don't recall her having any other titles. Her brother isn't a vigilante

Selina (yes, she's part of the batfamily) is Catwoman

Alfred is... Alfred. On the field he goes by Agent A and his previous spy career often comes in handy

This isn't the sum of it. There are a whole bunch of other bat characters (Bette Kane, Luke Fox, Jean-Paul Valley, Helena Bertinelli, Terry McGinnis, etc.) that I didn't get into here partly because I don't focus on them as much and partly because of space. I also didn't get into all the lore for characters I did explain, like Dick's police career or other teams/relationships. There are also some inconsistencies between different timelines and reboots.

I encourage you to explore beyond what I presented with other heroes and villains since I know Batman isn't for everyone. I also encourage you to explore the comics, talk to people, and figure out for yourself what characters or storylines best fit you. Don't be afraid to take your time, either. We've been here nearly a century. We're not going anywhere.

[spawnofbhaal]

Some speculation re: Solas and his role in the story, based on what we know from that article:

I think he somehow becomes trapped either in the Fade prison where the Evanuris previously were (which would be very bad since it's full of Blight) or in the new one where he planned to move them (which hopefully isn't Blighted, but . . .)

So unfortunately I don't think he will be visually in the Lighthouse while we are using it. I think the Lighthouse is definitely in the Crossroads, not the Fade. I'd love to be wrong about him not being there in person, but IMO they are keeping Solas off the board for the beginning of the game (because he is too powerful to be a player while Rook gets established). I think he will be an advisor of sorts and will help guide Rook from the Fade.

However, I don't think he is going to be sitting idle. There are multiple elven tales where Fen'Harel escapes a trap, either by "chewing off his own tail" or by pitting his enemies against each other. IMO this stuff is foreshadowing that he will indeed escape at some point, but at a cost (giving up some of his power? becoming Blighted? We still don't know if the knife he was using in the ritual is the lyrium idol or if that's something still to come).

I also don't think Solas is going to be perfectly aligned with Rook. At the start of the game they have to work together, but Solas' goals remain and he doesn't have any reason to particularly like Rook (yet). Solas spent a year with the Inquisition, even potentially befriending the Inquisitor or falling deeply in love, and still left to pursue his goal and has spent the last 10 years doing so. While I think Rook's relationship with him will be important like the Inquisitor's is, I don't think Rook is going to change his mind by themselves just because they can (maybe) speak telepathically. There is going to have to be more to it, and I think the Inquisitor's relationship with Solas will play into how open Solas is to Rook's influence.

(Also to really speculate I've seen Solas fans who playtested the first part of the game express anxiety about redemption, which signals to me that he does something naughty at some point instead of being a stable ally, lol. Hopefully it isn't killing Varric, but IMO it's more likely he tries to sacrifice Rook like a chess piece at some point. I'm 100% a Solas redemption truther, but I don't think it will be simple or easy like he's suddenly just toothless).

So, while I think the Evanuris will be the main villains to defeat, I also think Solas will dance between ally and antagonist throughout much of the game. He is a trickster/anti-hero/anti-villain character, after all. The mid-game is always a great point in terms of story beats for the protagonist to have a major setback (like Haven to an extent, Spellhold in BG2, Act 3 in Rogue Trader, etc.) so I look forward to seeing what happens then and how the story pivots.

[sonicjustbecause]

The Sonic 3 Trailer lacks of both spoiler and context, and that is about how a trailer should be. We already know what it is about. We only needed to see few scenes to make sure it might look good (or bad, it depends on what we except).

Now, I've seen a couple of crazy theories I've read and I believe both of them won't happen. I'll explain

Tom getting killed

Won't happens anything different to Tom that didn't happen before. he will be at worst knock out/neutralized and go off screen. Like in Sonic 1 (punched by Eggman) and Sonic 2 (encircled by flames)

Such happening would be the complete Shadow's assasination as character. We as fan won't forgive him and also this would push Shadow in the villains realm.

The past characterization.

Original Shadow (Adventure/Heroes/06) was very tame. There is a video on YT that analyze how Shadow behaves toward the world and underline the lack of destruction and violence in SA2, as opposite as we see in Sonic X and ShtH05.

in Sonic-X they changed slightly Shadow's personality, removing his intellectual and contemplative nature and replacing it with a more brash and violent personality. But even there, they prevented Shadow from killing Cosmo, making him acting like a cat who plays with his prey instead of being efficient (slow pace, talking, missing aim despite the short distance and when the thing failed just giving up on that). Shadow could have act smartly simply killing Cosmo in her sleep. As I say, I think they wanted to save his reputation.

In Sonic Force he indeed killed Infinite's squad. His first kill, most likely. Small fries, while leaving the boss alive, evil and stupid considering the aftermath. They saved Shadow's reputation by making Infinite lame and obnoxious and by not showing his gang at all (so we don't get attachted and we still cheer for Shadow). Sort of telling without actually showing anything.

Similar cases and why those characters have been tamed out.

Lupin III had a super rough star. His author got inspired by underground Western comics of the '60s and the original Lupin III was not a thief and a cheerful anti-hero. Lupin was originally a real godfather, a mafia boss, and despite he was mostly accompanied by Jigen and Goemon (who weren't really characterized back then) he had all underdogs, picciottos and so on under his rule. He did steal, but also he killed innocents, he raped women (includin Fujiko) and did several other hideous things.

Evil protagonists don't last long. They either get overhauled or they die like Light Yagami.

For this Lupin had to be tamed. Lupin killed less and less and more and more only with a reason and was more and more gentle with the innocents, including his main foe. And lastly he just virtually stopped to kill.

He's not the only one, many protagonists were born as unremedable villain and then they have been turned into antiheroes... or even heroes. Villanous protagonists never last long.

Shadow is beloved mostly because of his original personality. I noticed in most fan work, he is characterized the way he was in Sonic Adventure 2/Heroes/06 or Prime. Sometimes like in Sonic X and Shadow 05. Rarely like modern Shadow.

Back to Shadow

"What did you do?"

"What I had to!"

Those lines may be related to anything and everything. They might be related to Shadow's attempt to destroy the world like in SA2.

"I had to keep my promise!"

"What I had to do" suggest me something Shadow did not because he wanted to but for an external obiective. It might be world safety, keeping a promise, preventing the Sun going red giant, anything. Maybe even destroying Metal Sonic (if he appears like some rumor suggest) after Sonic convinced him to join the good side. Shadow has a long story dealing with living weapons.

Shadow stealing Stone's bike

Simply impossible. I already said Shadow's size is comparable to the size of a five years old child, about 1m tall. Stone is a 1,78m tall adult.

How Shadow would look on Stone's bike. It would be good material for the memes. And even if he would be able to ride an adult designed bike, he would be unable to do the Akira thing.

[lazycats-stuff]

Jason Todd

Jason Todd & child!male reader

Summary: could you do a jason todd x male child reader where somone is bothering reader when their out with jason and he just goes big brother mode. - REQUEST

Jason Todd x male!reader, PART 2

Ya it has to do with Jason Todd x Joker's son meeting in a club and alcohol heats things up between the two, maybe they had feeling for the other but ignored it? - REQUEST

Jason Todd & male!reader

I actually have another idea while I lay with my cat lol batfam/Jason Todd x brother reader (like he's the biological son of Bruce but a lil older than Damien) he has a close relationship with Jason compared to his other siblings and he ends up getting captured by Joker? - REQUEST

Jason Todd & male!reader, part 2

could you do jason todd having a younger brother from like willis’s side and jason just finds out they exist and just goes big brother bodyguard mode even tho his lil bro just vibing because jason has weapons - REQUEST

Jason Todd x male!reader

hi i got a request lol this is like my first time asking so i’m embarrassed☠️ but i was wondering if you could write something with a Spider-Man!anti-hero!reader and he’s in some fight with Red Hood, but they’re fighting near another fight where poison ivy’s fighting off some cops cuz she’s trynna escape from arkham and some of her aphrodisiacs/pheromone power from the plants get too close to where reader and red r fighting so they get intoxicated with it and yknow..also leading to some hate fucking. also with the added spinnerrette kink(that was RLLY embarrassing to write i’m so sorry if that sounds like a lot😭) but tysm !! - REQUEST

Jason Todd x male!reader

I was wondering if I could request Jason x Male reader who pushes Jason out of the way of an attack just on time but take the blow instead getting shot/stabbed in the gut. Maybe on the way to the hospital/or in surgery he has to be brought back.

But maybe somewhere at the end reader re-sure Jason that everything will be okay and just how much he loves him by covering him in soft lil kisses.

Jason Todd & child!male reader, PART 2

if ur requests are open could you do jason todd w brother reader whos like a baby baby, super young and the batfam is suprised he likes jason the most and jason gets really emotional when his first word is 'jay' - REQUEST

Jason Todd x male!reader

I was wondering if I could request a Jason Todd x Male reader who is a total bad ass, but finally gets the courage to show Jason. Reader teases Jason with a little belly dancing show, which may have made the night very hot and steamy? (Reader bottom) - REQUEST

Jason Todd x male!reader

Hello, good day/afternoon or night. I wanted to make a request if you don't mind. I would like it to be a jason todd x male reader, where the reader is of the same race as martian manhunter and that i worked with jason in the "outlaws" I would like to see the reader a little unsure of himself because of his Martian appearance and a protective and loving Jason. And that he shows it by making love in a tender and affectionate way and those things.

I hope not to be a nuisance. - REQUEST

Jason Todd x male!reader

You have given me an idea I was wondering if I could request Jason Todd x Male assassin reader like the trope villain x hero, who do you think would make the other turn into a flustered mess? - REQUEST

Jason Todd & male!reader

Hey, I'd love to request Jason x big brother reader, before Bruce adopted Jason he had a big brother who took care of him, but one day the reader kinda vanished and money just randomly appeared near Jason. The reader made some sketchy deal with someone in exchange for Jason to be taken care of. The reader was an experiment and got turned into some sort of monster (still a human silhouette but just a bit different, memories wiped, can't speak etc.) and years later, when Jason is red hood and on a mission with the batfam, they encounter the reader. Jason remembers the reader through some jewelry he gifted them, and he tries and helps the reader remember who they are.

Jason Todd x male!reader

Can i request anyone from batfam (you decide) x male reader that goes non-verbal when overwhelmed, which is quite often. The first time they met each other, the character asked a question and the reader just stared at them with a pure look of horror. The reader doesn't know ASL because he's too afraid to join a group and he freezes when he's overwhelmed so he can hardly lift a finger to talk.

Jason Todd x male!reader

Hello! Hope you're having a good day/night I was wondering if I could request Jason x male reader he's been going out with Jason and has been keeping alot of secrets from his past. But he's very loving and protective of Jason! Reader is covered in scars that he doesn't elaborate on how he got them. He has strange quirks like wearing gloves (never touching silver), tries hiding his nervousness around muzzles and cages and petrified of small confined spaces. Reader's a werewolf and has been for many years, being a werewolf means you're life will never find peace forever, that you'll be hunted down like a monster till eventually a hunter arrives that does kill you. Maybe at a gala something happens and reader gets poisoned resulting in him almost dying. Like maybe he took Jason's drink smelling something off about it and his protective instincts kick in, I can also imagine reader and titis being close friends, and trys to warn them that something wrong?

Jason Todd x male!reader

Hi! Can I request a Jason Todd x Male Reader where the reader and Jason are in a secret relationship and even Bruce doesn’t know. So one day, Jason thinks that his family is out, he invites the reader over and they have a make out session. In the middle of it, Jason’s siblings come home, and they black mail him (like normal sibling blackmailing)

Jason Todd x male!reader

i was wondering if you’d like to write a Jason Todd x male!reader(gender neautral is fine too)who’s also a vigilante magic user! Jason meets Y/N as red hood first on patrol and eventually meets them out of costume at a book store(doesn’t know Y/N is magic user vigilante yet). Jason is entranced by “both” of them. Is it magic or chemistry?

Jason Todd x male!reader

Jeason todd x Wednesday Addams male reader please

Jason Todd x male!reader

Jason Todd x Wolverine reader!!!! It came to be is a dream~ *shitty whimsical movie voice* Anyway we all know Wolverine is Trojan horse for trauma and is also have a soft spot for kids and also was experimented on! So basically the batfam pick up this same age as Jason reader into the family ish while he and Jason date (Damian has a fascination with his claws and thinks he’s a hybrid animal), Cass has painted his claws before but had to wash them off when they retract cause your know it goes into his body and all that have fun with this as you please!

[jackdaniel69nice]

Another Midoriya inko au idea

SO. When izuku is diagnosed as quirkless by “dr. tsubasa” (dr.giraki) inko immediately does a ton of research on quirkless people and discovers the high amount of mistreatment and profiling they are subjected to from bullying at a young age to being denied work as an adult from prejudice. She immediately begs him to remove the diagnosis, he says he will for a…fee. It’s MUCH more than she can afford. She refuses to ask mitski for money in what is a completely illegal operation so she…becomes a pickpocket.

Her quirk allows her to levitate small objects so she stealthily takes wallets from pockets to slowly add up to the due amount. In doing so she is accidentally training her quirk to become stronger and can begin to lift much bigger objects until she can easily lift izuku, then she can lift a whole couch. She feels bad for stealing from common people like her but she needs to save her baby and a mother will do anything for her child.

Soon enough izuku comes home with bruises one day and even though she told izuku to keep his diagnosis a secret the teachers leaked his “quirkless status” and he has begun to be bullied. Inko now has a target. The families of the children who have been bullying izuku quickly become troubled with financial issues after their place has been robbed of valuables. Izuku (the angel he is) tries to offer them reassurance after and ends up making a surprising amount of friends. Inko is officially an anti-hero of sorts. Inko can lift a small car.

It has been only been one year and she still can’t reach her goal, she needs to set her sights higher before tsubasa revokes his offer. She looks up wealthy businessmen and some politicians who have been known to be quirkest. She robs them blind in the night. It’s finally enough. Izuku gets registered as an intelligence enhancing quirk with and empathy influencing sub-ability. It’s not something that can easily be proved or disproved that he has. Izuku thinks he has genuinely developed a quirk. Bakugo isn’t much nicer to him because the problem was never really his quirklessness and just the fact he thought izuku looked down on him. They have a sort of normal rivalry and izuku works on “training his quirk” by his usual studying and analysis to try and figure out ways to fight using the environment around him, support items, and sidekicks. He leads his “new friends” (lackeys) and uses their abilities together to fight bakugo and even wins a few times. They subconsciously believe they are under the influence of his empath quirk and follow him pretty blindly. He also believes he has an intelligence enhancing quirk and gets into building support items for himself. He also does lots of physical training and learns lots martial arts from his mom who is still keeping her skills sharp just in case, she can lift many large trucks in row with her quirk and is really buff to boot💪 . The only one who suspects there is anything off about inko are the bakugos, specifically Mitzki.

I’m not sure if izuku would inherit ofa but there would be a great opportunity after seeing izuku (and his mom) beat the sludge villain with intelligence. Maybe he would make his final decision after izu gets into UA.

I also want dr. Giraki to reveal that inko is a “villain” and that izuku is actually quirkless >:)

very angsty and delicious

[petrichormore]

also crazy how skewed the morals are on the qsmp in both directions because of the situation. You cannot kill the probably artificial children that the evil organization who kidnapped you all gave you. Placing mines is okay though. Even when they almost kill the fore mentioned children.

q!ElQuackity is a villain for acting mean and suspicious, supporting the evil government who kidnapped all the islanders, and attempting to kill them and the artificial children that the evil government gave them.

q!Bad is also a villain, but for lying, stealing things, for being a vocal anarchist, and for kidnapping and torturing a lower-class, presumably-innocent-but-maybe-not member of the evil organization that has kidnapped and tortured him (because what q!Bad and the other islanders have gone through is certainly some kind of torture - just very drawn out) for months on end.

Think about this for a second. Just think about it. The island itself, the situation has warped people’s frames of thought. What q!Bad is doing, if we step back for a second, would probably land him with an anti-hero title or something similar. Because sure, he’s tortured an innocent worker but they were the Federation’s uniform - which has tortured him worse and for longer, of course he’s attacking the workers. Why isn’t everybody attacking the workers? Well, because the workers seem to be as trapped as the islanders. Well, after q!Bad discovered that for certain (because until Ron told us, we didn’t know that for certain), he’s now treating Ron kindly in a twisted sort of familial bond. Well, but he’s still keeping him captive and that’s wrong. Well, well, well - this is morally grey character stuff.

If you described a character in q!Bad’s situation to me - I would certainly say the character is in the wrong, and committing cruel, violent acts, but I wouldn’t say they were evil nor would I even call them a villain. I would point at the Federation, I would go “that is the evil, that is the villain” and I would point at the character and go “that is a cornered, injured animal that has finally decided to bite”

But it’s the island. so it’s not like that. And on the island, q!Bad is an evil person, and he’s horrible, and he’s a villain. He is the only one who has dared to beat the Federation at their own game. And, most importantly, he is a threat.

I don’t know, just interesting to think about.

[reachexceedinggrasp]

I have a feeling you might relate to this or you might have even related this on your blog already, but I was just thinking of that Ghoul quotation water water everywhere and not a drop to drink

I think probably my favourite, maybe ever, quiet point of characterisation in a sort of villainous or Beast love interest is his or her having a poet's soul... whether that is conscious or unconscious romantic meditation. It's like Kylo musing to Rey when he says 'You have that look in your eyes. From the forest. When you called me a monster' I love that sort of wistful observation, especially because it evokes such potent imagery ('when we fought together in the forest and then you marked yourself on my face'). Or more literally something like Ghoul citing a line of literature, even when none around except for Lucy would know what he's referencing, it's for his own arrestment and amusement, this is how he sees/interacts with the world

I guess in that way, it reveals something new about their perspective on the world, even when they're somebody seemingly cut off from it - monstrous, othered, repellent, ugly - when they're able to articulate a certain beauty which other characters may not remark upon. It's sort of covetous in that sense, but I think it also sort of helps explain what might interest them about a Beauty, after all, there's something they long for and value (spiritual, aesthetic, existential beauty).

I thought you might be able to relate 🥰

Oh, totally. And with Cooper and Ben, specifically, which is a parallel I hadn't actually noticed until you've just pointed it out, we're being shown their sensitivity as characters. Not in the sense of being considerate, but that they're aware and alert to beauty and meaning in the world despite currently occupying a narrative role which might make us think they're simply destructive or nihilistic figures. And despite the cynicism they're both ostensibly espousing.

Cooper quotes or alludes to literature practically constantly relative to how little he speaks, always knowing people almost certainly won't understand him, and that's especially fascinating because he didn't make those kinds of references in the flashbacks. We could take this in a whole direction about how he created the Ghoul as a character to shield himself from the things he had to do to survive and is living within a meta-narrative deconstructing the reactionary anti-hero who overtook the white hat sheriff he used to play in his movies. The anti-hero he never wanted to be. He makes allusions because his life has become a story he's telling himself to stay sane. He's his own wry Dickensian narrator making asides to an imagined audience about dramatic irony and social commentary.

And an important part of his presentation to others before the war was painting himself as not sophisticated. Just a cowboy and then just a guy who plays a cowboy in the movies. He wants nothing to do with politics either in an interpersonal or broader sense, and disclaims any pretensions to being savvy despite being in a theoretically powerful position as a rich, well-connected major film star. I think he was genuinely naive, but I also think he often played dumb to avoid social conflict. He was complacent and his image helped him remain complacent. Obviously he was very willing to be confrontational when he saw wrong or injustice right in front of him (he goes after Bud Askins directly to his face about marines getting killed by shitty equipment, he challenges Moldaver when she calls him out), but pre-bombs he mostly uses his empathic perceptiveness and charisma to keep everyone around him happy.

In the wasteland we often see him doing the opposite and deliberately riling people up in order to gather information and assess or eliminate them as threats, but he's also only gotten better at disarming people when he wants to. As a handsome charming film star he pretended not to know anything, as a scary intimidating monster he pretends he knows everything.

What I'm wondering about as far as all this goes is whether Cooper always had a secret nerdy side and read all the classics as a teenager or perhaps while waiting between shots when he was working as a stuntman, or whether he wanted to fit in when he started to make it in Hollywood so tried to become cultured before realising that wasn't what anyone wanted from him. Or if he just spent 200 years alone and read anything he could find as a way to cling to his humanity. We know he was at least a bit intellectually curious before the war, because of his reading and retaining some article about studies on torture.

But YES, him quoting poetry and being so interested and insightful about Lucy, specifically is a huge part of how he's framed as a romantic figure. And he's already by far the most romantic figure in the show. If it were solely about his tragedy, you'd think they would emphasise the contrast between his pre-fallen and post-fallen state by stripping him of his heroic trappings, but they don't. He's actually more romantic post-'curse'.

It also gets me because he's an extremely smart, socially adept person who doesn't let others see him for who he really is both consciously and unconsciously on multiple levels and that layers of identity shit is my crack. He was a profoundly honest man who thought he was simple, but actually he was a glorious maze of contradiction and complexity waiting to happen who has now come into his own as a master manipulator.

[ilikekidsshows]

Not to sure how to phrase this in a way that doesn't sound like Marinette salt, but I was curious about the morality of this option.

Since the show since s4 goes on and on about how unbearable every walking moment as Ladybug is now for Marinette to the point where she can do awful things to people and abuse her powers without ever being asked to finally learn from it and improve bc that's too stressful and horrible to Marinette

Well, at what point is it just the reasonable thing to do to propose Marinette giving up her Guardianship so she can go back to being a normal girl with a normal life?

It would be a loss, but let's not pretend like Marinette is gonna loose 90% of her life. She would loose A YEAR which was supposedly so torturous to her that she now thinks she's the embodiment of Truth and the Queen of Reality?

Just go to Suhan, tell him her job was defeating Hawkmoth and that's done now and she doesn't feel like she's suitable anymore to continue. She wants her normal life back, all she's asking for is that she gets to tell her parents first so they can properly go about this.

Overall, making it happen that the people in Marinette's life think she had some sort of accident (maybe even through being the victim of magic) that left her tragically without memories of the last year is doable. Anyone who claims otherwise is just making up excuses.

What would she even loose besides her status as the new anti-hero Queen of the Galaxy (that is 10 seconds and one disagreement away from her villain arc)? She will keep all her friends, her family will be in the know and take care of her, she will keep Adrien, she has a promising and bright future ahead of her anyway, and she only lost ONE year. Not a lifetime. One year.

The only 'loss' she would have is Cat Noir but season 4 and 5 made it very clear that he has no room in her life beyond being her battle care taker and pet to sacrifice. We saw it the entire time that he and his presence mean very little to her in her real life and she doesn't want him to be part of it. She has no interest in getting to know him either. We saw it in Kwamis Choice, this is not a real loss for Marinette. She'd get over it in a week at most.

So what exactly is stopping her from dipping out when apparently every breath she takes is torture now so she "gets" to take that out on everyone else to make sure SHE is fine before all else?

Just leave. You HAVE the option of leaving it all behind you! Tell Suhan and Alya to watch out for the new Butterfly wanting to drag Marinette back into it and call it a day. At that point Marinette would be of no use for Lila to target anyway if she actually wants to accomplish something with the wish. If Marinette isn't Ladybug anymore and has no memories of anything then Lila will never accomplish anything by going after her. Just LEAVE. At what point is that just the logical thing to propose when Marinette herself has no connection to shit and only makes it worse for the victims?

I don't mean this in the salty way, that's a genuine question. Marinette is not owed to reign the universe as Ladybug and have victims because she had a shit year. And very obviously this role is VERY BAD for her mental health since that's her never-ending excuse for making things worse for other people and not doing her actual job as Ladybug.

Yes she's 14 years old, but that's also it. She's a 14 year old in a position that's now clearly doing herself and the world more harm tham good because she's not cut out out right now to be a super hero guardian leader who has to take care of PEOPLE and VICTIMS before herself. There is no reason for her to continue staying in her position that'll only make things worse. Just leave. UNLIKE MOST OTHERS YOU HAVE THE OPTION.

---

The only thing I can think of is “people are counting on me!” but, like, girl, you're not irreplaceable. Anyone somewhat heroic could be Ladybug and would be more motivated to do it than Marinette “I knew Gabriel was Hawk Moth and intended to ignore it” Dupain-Cheng (although, I’m pretty sure that writers will retcon that dereliction of duty by the time season 6 airs). She only hangs on to her position because it's a pattern for her to just whine about how badly she has it while doing nothing to try to change things even when she's the one with all the power and control.

Marinette clearly doesn't want to be a superhero, she always has complaints about her job and "saving people" isn't exactly a passion of hers. She's far more enthusiastic about doing more mundane favors for people, which is why she actually wants to be and likes being class president. The difference between how Marinette treats her class presidency and how she treats her roled as Ladybug/Guardian couldn't make this clearer. Even pre-retool, Marinette never voiced any kind of enjoyment towards her role as Ladybug, and post-retool, she only brings up having superpowers and the Kwamis as a perk to Alya. Basically, the thing she gets out of being Ladybug is feeling special.

The reasons we can come up with for why Marinette has to keep going on as Ladybug while it's clearly ruining her mental health are all pretty self-centered. She thinks she's so much better at being Ladybug than anyone else that she's irreplaceable. She can't stand forgetting a year of her life because that's her life and her remembering it is more important than the people she's harming, including herself, by upholding the status quo the way she does. That's her title and she should get to keep it because it's hers. She's so important, valued, appreciated and celebrated as Ladybug that she couldn't possibly go back to being just plain Marinette, because she's so blind to how beloved she is and how much people celebrate her mere existence that she probably thinks she’d be left with nothing and no one.