#sure they give you his backstory & it's tragic

[zorosroronoas]

my god, but media literacy is so fucking death...

[bleue-flora]

...Q running in an election, which he was completely allowed to do, during which he played 100% by Wilbur's rules and won fairly according to said rules, means that getting abused by his boss was his own fault?

Yeah your views are definitely scuffed. You don't have to sympathize with a character you don't like but holy shit

Perhaps fault isn’t the right word. Just to clarify, I didn’t mean it was his fault for being abused, not saying anyone deserves that. So, I didn’t mean like he asked for it or like it is karma or comeuppance for running in the election. And by no means am I saying he was wrong to do so in the first place and whether or not he followed c!Wilbur’s rules is irrelevant. So perhaps comparing that with exile is unfair to c!Quackity, after all c!Tommy did provoke Dream and there’s not necessarily evidence for c!Quackity provoking c!Schlatt into that behavior. But at the end of the day, it is a result of his own actions. It is a consequence of his own actions whether or not it was intended or deserved. He chose to side with c!Schlatt so he could win even though it’s not like c!Schlatt was necessarily hiding his true colors, and he chose to stay. Did he know he was going to be abused, did he chose to be abused, did he deserve being abused. No. Of course not. But it happened because of the choices he made and he could’ve always made different choices to escape that. Actions just have consequences whether good or bad, you pay them or someone else does, whether intentional or not. - I forget an umbrella and I get wet and I get the floor wet and then someone slips on the wet floor and falls - I made a choice or perhaps a series of choices whether to put my umbrella by the door or make sure to dry my shoes off… etc. did I know that was going to happen? Did I intend for that? Did I or the person who fell deserve that? No, I made choices and those were the consequences that happened as a result so one could say it is my fault even if it’s not only my fault and even if it’s not like I intentionally meant for that to happen.

So obviously c!Quackity didn’t deserve to be abused, nor choose it, nor mean for it to happen, nor make it happen, nor is his hurt invalid. But c!Schlatt had a bad reputation to start off with, I mean one of the first things he does is betray c!Wilbur and c!Tommy in the first place. So all I’m saying is c!Quackity chose to ally himself with the devil and the devil lived up to his name.

(And I know I said you can call me cold, but that is kinda accusatory. c!Quackity isn’t a real person, these do not reflect my view irl, this is my view on a sadistic, manipulative, fictional character who lives in a world where people stab, kill, insult, harass for a fun afternoon.)

[yuuminni]

its just so incredibly funny to me that in a game with a literal Flowersland kingdom and Flowersland prince and Flowersland princess whose designs have flower crowns and everything. and they gave the "birds flock to them when they sing" cliche to some guy from Sandland who howls like a wolf.

[britcision]

Every single time Caleb talks about how the things he did were awful and irredeemable Astrid is internally screaming

Caleb failed on their graduation day

He made it through training, and yeah, did awful things

Astrid and Wulf passed that graduation, finished training, and spent 17 years in the real world doing the actual job

The parts too hard, too bloody, too dangerous, to trust to teenagers

Caleb knows Trent is awful and all of the terrible things he put children through, and every dreadful thing he is capable of, no question

But Astrid and Wulf, looking at him after the Mighty Nein? Not when he was in the Sanitarium, broken by Feeblemind, but a whole, complete person?

A wizard powerful enough to stand toe to toe with their master, and what did he do that they didn’t to get there?

He ate pastries. Wore bread as mittens. Made dick jokes and found love and forgiveness and people who may not understand, but who don’t care that they don’t understand and accept him anyway

People who looked at this sad, broken man with up to seven years of guilt and terrible deeds weighing him down (depending on when you think Trent started scourging ‘em, seemed young in the campaign but much later in the comic)

Knowing that they spent every one of the years he was in the Sanitarium and then after he escaped still under Trent’s thumb, still doing everything they’d done as kids and more, doing it with higher stakes, higher costs

And he talks about those childhood sins as unforgivable

He tells them that they too can be redeemed, as if nothing and no one could be worse than he was

But Astrid and Caleb are the same person

So you know she’s just as convinced that her sins were actually the worst, and there’s hope for anyone else but her

And she has the resume to back it up

And no matter how much she wishes she could have what he has, be free and redeem herself and maybe admit she shouldn’t have had to do any of it…

If Caleb doesn’t believe he can be redeemed, how could there be hope for her?

(And absolutely none of it will stop Jester Lavorre from scooping up another two formerly evil wizards and tucking them gently into her pocket and woobie-ing them to death with sprinkles and muffins and love)

look me in the eyeballs. astrid and caleb (imo wulf is a slightly different story but that's another post) are textually, canonically narrative foils. i think a better, less literary term-y way to put it is that they're variations on the same person. like. canonically. astrid is caleb if he didn't fail the training. caleb is astrid if she got out. they're like if you took one person and laid out two seperate options on how they would react to a major life-changing incident (hmm. i wonder what that might be in this context). astrid. caleb. they look at each other and see themselves. caleb is alright with this. astrid was holding on for her life for a little bit, trying not to lose her shit, because. he is who she would be if she was free and she figures that out during c2 yknow. caleb always knew that he was almost astrid so he just had to. like. look at this woman he loves dearly and fucking. wretchedly. and cope with the fact that 1. he loves her 2. she's awful 3. she could be so much better than she is 4. she's too far gone for that. but he's been coping for a long time, and she's not unreachable she's just. she's never gonna be him. meanwhile she has to grapple with the fact that she will never be as free as him- i don't know if she really wants to be, but he's proof that her life didn't need to go the way that it did and that's brutal. anyway. they're the same guy. it is so so important to consider that in relation to the dynamic they have going on. is this mic on

[avaleigh16]

Price: Eugh, Soap.

Y/n: Remember when he tried to kill us because I wouldn’t marry him?

Gaz: He's always trying to trick me into giving him my house!

Ghost: One time I caught him stealing my moisturizer…

❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇

Ghost: Two brooooos!

Soap: Chillin' in a hot tub!

Ghost: Five feet apart 'cause we're not gay!

Soap:

Ghost:

Soap: *tearing up*

Ghost: Babe, c'mon...

Soap: AND HERE YOU REALLY HAD ME THINKING WE HAD SOMETHING.

Ghost: Babe...

❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇

Y/n: Bad news—Soap locked himself outside of his own house.

Y/n: Good news—we didn’t have to wait around for a locksmith.

Y/n: Bad news— Price finds it very concerning that I know how to pick locks, and tried to unlock my Tragic Backstory. I was too embarrassed to admit that the reason I learned it was because, at thirteen, I figured that was the kind of skill that would impress cute guys.

Y/n: Good news—a cute guy saw me do it.

Y/n: Bad news—it was Gaz, and since he already seen me fall out of several trees, cry because I saw a fawn that was just too damn small, and knows I can ride a unicycle, he will never think I’m cool no matter what I do. It’s too late. He knows.

❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇❇

*Ghost comes home absolutely drunk, undresses, and stands in Y/n’s bedroom.*

Y/n: Babe, are you.. coming to bed?

Ghost: No thank you, I’m sure you’re lovely but I have a girlfriend.

Ghost: *Lies on the ground and falls asleep*

Y/n: ...

[revasserium]

chapter one: a shadow of the past

roronoa zoro; 3,225 words; angst and fluff, hurt/comfort, enemies to lovers, mostly enemies in this chapter, tragic!backstory, flashbacks, slightly canon divergent, baroqueworks!reader, no "y/n"

summary: in which zoro will always find you, even if you don't want to be found

a/n: not much to say here other than enjoy! :)

< to the table of contents

It would be months before he sees you again, months before he runs across the typeset of your codename, on a wanted poster with an obscene amount of Berry tacked underneath — more, he thinks, dully, than the last time he’d seen it.

MS. DOUBLE-NINES — WANTED — 90,000,000 BERRY.

“Agent from Baroque Works… seems like a bad lot,” Sanji says, frowning as he squints at the poster, smoke curling from between his teeth.

“Yeah, dunno about that,” Zoro reaches out to rip the poster from the wall, crumpling it in his fist.

“There a story you wanna tell us, moss-head?” Sanji asks, slating Zoro a long glance.

Zoro scoffs, “Barely,” but at a hard look from Nami, he relents, rolling his eyes, “they sent someone called Mr. 7 to recruit me a while back.”

“And…?” Nami asks, probing as the three of them turn back towards the bustling street market, Usopp and Luffy already halfway down the street, chattering about lunch.

“And nothin’. I took care of him.” Zoro makes to toss the crumpled poster onto the ground but he pauses, glancing down at his hands, “the Marines still owe me his bounty though.”

Sanji laughs, even as Nami scoffs.

“Well, let’s try to stay out of their way till we get out of here,” Nami says, eyes caught on the poster in Zoro’s hands, “at least in the Grand Line, there’ll be bigger fish for them to fry.”

Zoro wets his lips, staring down at your disfigured face before tossing it aside.

“If you say so.”

— — —

You have the most delicate hands — nimble fingers and soft, marshmallow palms. You’d cradle the miniscule wooden knife just so, slipping the dulled edge along the tops of the homemade wagashi, making marks in perfect intervals until the cake resembled a flower, just so.

“Okay, now who wants a piece?” you’d ask, giggling as the boys all scrambled over themselves, raising their hands and hooting like monkeys.

Zoro always held back, feigning disinterest, even though his mouth would water just the same.

“Here, a piece for you too,” you’d say, after giving everyone their due share. Behind you, the other boys would always be squabbling for an extra slice, fighting over the crumbles left on the thin rice paper packaging.

“Don’t want it,” he’d say, looking anywhere but at the tantalizing slice of wagashi, the soft lotus-paste insides nearly translucent, the pastel mochi exterior the perfect amount of sticky and sweet.

His mouth goes dry as you hold it up in front of him, cupped in your palms like just-found treasure.

“Everyone else got a piece,” you say, as if that’s reason enough for him to forgo his abstinence.

He swallows.

“Don’t move.”

His eyes flicker open to the shape of you, crouching by his hammock, a knife held to his throat. Outside, the night is thick and moonless, the seawater lapping softly at the sides of the ship.

Zoro huffs out a breath, “Or what?”

He blinks, the afterimages of the dream still solid behind his eyelids.

“Not sure yet, but I’d bet you wouldn’t like the answer, either way,” you say, your voice barely more than a hiss as you shift the blade from one hand to another and he feels the sharp edge of it skim along his skin.

You’re careful not to break any skin as you pull back, ever so slightly, allowing him to sit up.

“What’dyou want?” he asks, moving slow, fingers inching towards his swords, propped by the hammock’s side.

“Nothing too much,” you answer, “just a free ride off this island. And the next time you dock, you’ll never see me again.”

Zoro scoffs, “That a promise?”

Even in the dark, your grin slants crescent-moon sharp. Zoro blinks again, his mind fighting to reconcile the image of you as a child over the shadow hunched over him now, holding a knife to his throat.

“Something like that,” you say, your eyes flickering down to where his fingers are inches from his swords. Zoro sighs, tugging his hand back.

“Fine — but one condition,” he says.

You hike an eyebrow, “From where I’m sitting, you’re not exactly in the position to be making demands.”

Zoro smirks, folding his arms across his chest and stretching out on his hammock.

“And from where I’m sitting — we’re one alarm away from my entire crew wakin’ up. And… they might not be as good as you one on one but… all together?” he shrugs, “I mean, you do the math.”

Your lips curl into a contemptuous snarl, but you don’t fight him on it. Instead, you pull the knife away, tucking it into your belt.

“Fine. What’s your condition?”

Zoro peers at you from a half-lidded eye, “Tell me what happened to you.”

You puff out a laugh, leaning back against a wooden barrel, propping your arm on your knee.

“It’s kind of a long story.”

Zoro motions towards the darkened window, “We’ve got a lotta time.”

You turn your head away, “Maybe tomorrow,” you say, your voice low and fractured.

Zoro frowns, “You made a promise.”

You cast him a faint, woeful smile, “Yeah, but I never told you when I’d tell you the story.”

— — —

The next morning, you awaken to a wide-eyed stare from a boy who couldn’t have been much older than you, grinning ear to ear.

“Hi!”

“W-what the —”

You scramble backwards before realizing that your back is already pressed against the wall.

“Oh! Sorry, didn’t mean to wake you up!” the boy leans back, still grinning, propping both his hands on his hips as he stares down at you. Behind him, you can see the shape of Zoro, leaning by the door, swords at his side, a smirk on his face.

“What the hell’s going on here?” you ask, shooting him a dirty look, “you made a promise,” you spit the word back in his face.

Zoro shrugs, “Yeah, but I never said your free ride would be a secret.”

Your eyes narrow into slits as the boy standing over you claps a fist to his palm, turning towards Zoro.

“Oh! I remember now — we saw her on one of the wanted posters! You’re uhm — Ms… Ninety-Nine?”

You wince, sighing as you push yourself up and dust off your trousers, “Miss Double-Nines, but… close enough.”

Zoro snickers.

“I’m Monkey D. Luffy, and I’m the Captain of this ship! But… I gotta say, your name is way cooler. Did you get to pick it yourself? Or did someone at Bara-Rock Works give it to you?”

You fight down the twitch threatening your left eye as your gaze slingshots to Zoro and back to Luffy again.

“Uhm — someone… assigned it to me. And it’s Baroque Works.”

“Right! Yeah — that one!” Luffy smiles, seemingly unbothered by the implications of you being a member of a known criminal organization.

“Breakfast! C’mon — before it goes cold!” a voice calls down the hallway and a moment later, a blond-haired man in an all black suit peeks his head around the doorframe.

“Ah, our special guest is awake — so what about it, Ms. Double-Nines? Any requests for breakfast? I could do a few eggs, sunny side up, with a side of toast and some freshly made tangerine-butter. Or, we’ve still got some batter left over from the blueberry pancakes yesterday. Take your pick.”

You blink at the man with one shoulder propped against the doorframe, the other supporting a half-done cigarette, bringing it to his mouth for a casual puff.

Zoro lets out an annoyed grunt, “What blueberry pancakes? You gave me left-over potato mush for breakfast yesterday.”

The blonde turns to Zoro with a vindictive smirk, “You really think I’d waste the good stuff on someone with the palette of a forest slug?”

“Oh! I want the eggs! And can you make the sausages you made the other day, Sanji? Those were the best!” Luffy bounces out of the room with a bright smile as Sanji chuckles, shaking his head.

“Yeah, but you’ll have to wait a bit for those!” he calls down the hallway after Luffy’s rapidly retreating form.

You glance from Zoro to Sanji and back again, your stomach a mess of knots, your heart skidding strangely inside your chest.

Sanji slates you a helpless look and a lopsided smile, “C’mon then — can’t miss breakfast. Most important meal of the day!”

Introductions, as they are, take the better part of the morning. Though by noon, you’re still unsure if you’d stepped into some strange alternate universe where you’d miraculously escaped the dark tangles of your past, and into some idyllic, sun-lit story full of great friends and endless adventures.

“Mm, that’s a pretty name, but I still think Ms. Ninety-Nine is cooler,” Luffy says, when you finally tell them your name — the one that had been yours for your whole life before you’d been forced to become someone — no, something else.

“It’s Ms. Double — nevermind,” you sigh, shaking your head, feeling an incredulous laugh bubble out of your chest.

“So… you trying to leave Baroque Works?” Sanji asks, casually adjusting his fishing lines as Nami pours over a hand-drawn map of the East Blue, a pair of tiny glasses perched on her nose. Of all the members of the Strawhat Crew, she’d been the least overtly welcoming, staying quiet and keeping her distance.

And, judging by hardness that lies just on the other edge of her smile, you can’t blame her. She knows a liar when she sees one; you do too.

“Something like that,” you say, glancing away.

Zoro lounges against the main mast, his eyes closed.

“So! You must be a really good fighter!” Luffy says, tugging on his own fishing lines till Sanji nudges him away.

“I —” your voice catches and you look away, “I’m alright.”

“I heard that only the best fighters in Baroque Works get codenames with numbers,” Nami says without looking up, her tone casual. Her hand is steady as she traces a long line through the center of the map.

“It’s… a bit more complicated than that,” you say, your fingers twisting in your lap.

“Complicated how?” Nami asks, finally looking up, her gaze bright and hard and unrelenting.

You lick your lips, shrugging, “It’s just… you don’t have to be a great fighter to be… useful.”

And something about the way you say that makes everyone stiffen. By the main mast, Zoro shifts, peering open an eye to stare at you. But before he can say anything, Luffy jumps up, pulling hard at his fishing rod.

“Look! I think I caught something!”

That night, when they drop anchor, the ocean is still, and the summer air is almost too sweet. Luffy proposes a toast, to a new friend, he says, and Sanji has never turned down a toast to a pretty girl. Even Nami, who had been cautious all day, lured by the sweet tangerine wine and the tantalizing summer air, flashes you a small grin as she raises her glass.

You manage to choke down the wine passed the scream curdling at the back of your throat.

And then later, when the Millions come calling, no one notices the way you slip away, pulling all the fire towards you until you’re too far to be saved.

“Stay back!” you call, even as one of the Millions hauls you onto the deck of a smaller ship by the hair.

“Gum-Gum —“

“Wait,” Zoro places a hand on Luffy’s arm.

“Huh?”

Zoro frowns, pointing to a spot of white on the railings. Luffy stares down at it for a second before Sanji peers over his shoulder, reaching out to dab at the smear of white powder.

“It’s… rice flour.”

In the kitchen, they find a tray with a series of tiny wagashi mochi’s, simply made, but each perfectly shaped and dusted with a fine powder of sweet rice flour.

There’s a hastily scribbled note that just says — Thank you. I’m sorry.

— — —

It takes them the better part of a two weeks to track you down.

And when they do, it’s to an island of sand and trees and not much else.

“What… is this place?” Nami asks as they all hop onto the bleak little stretch of beach.

“It’s a holding ground,” a voice answers, rich and feminine. They all look up to see a tall figure, arms crossed, a cowboy hat perched atop her head. Her hair looks like it’s been cut with a slide-rule. She makes no move to attack, but Zoro still finds his thumb ticking at the hilt of his sword.

Beside him, Sanji looks conflicted at the thought of fighting such a beautiful woman.

“Miss All Sunday,” Nami says, her bo staff clicking clicking into place as she takes half a step forward.

The woman allows herself a grin, dipping the brim of her hat.

“Ara… if it isn’t the Cat Burglar.”

Nami scoffs, “Let’s cut the song and dance — we’re looking for a friend of ours. You might know her — goes by Miss Double-Nines, I think.”

“Friend?” Miss All Sunday lets the word simmer in the air between them, blithely checking her nails before pinning them all with a hard look, “we at Baroque Works aren’t known for making friends outside the organization.”

“Yeah well, maybe our friend’s just different!” offers Luffy, grinning widely, his chest puffed out.

Miss All Sunday regards them for a moment more before shrugging and slipping into the shadows of the giant tree she’d been leaning against. Zoro and Nami share a look before stepping forward to follow her, Luffy, Sanji, and Usopp half a step behind them.

The forest is a twist of ancient trees, their canopy high and thick enough to completely blot out the sun. Beneath the preternatural dark, the woods are spine-chillingly quiet. There’s no rustle of leaves, no hush of wings or skitter of claws. Nothing moves, save for their slinking guide and their own, weapon-laden bodies.

No one dares to speak; even Luffy keeps quiet, his mouth set in a straight line, his eyes tracking the lithe form of Miss All Sunday as she leads them through the undulating terrain.

“Ah… you’re in luck,” Miss All Sunday says, her voice a silken whisper as she stops in front of a massive tree, it’s roots as thick as the Merry’s main mast, it’s trunk so wide it’s impossible to see around. Miss All Sunday adjusts her hat, sweeping her hand through the air much as a hostess would when presenting a prize, “she’s awake.”

It’s you, or at least the shape of you, caught in the massive tangle of tree roots, your arms held to your sides, your body half-swallowed by the trunk of the tree itself. Your lashes flutter open at the sound of Miss All Sunday’s voice, and when your gaze finally lands on them, it goes wide —

“W-what —”

“We’ve come to rescue you!” Luffy says, grinning even as he revs up his arm.

The cigarette dangling from Sanji’s lips falls he leans back to inspect the grotesque sight before him.

It’s Nami who catches Zoro with an arm around the waist, tugging him back to relative difficulty. It’s only then that Zoro realizes how hard he’s breathing, how there’s red seeping like spilt blood into the edges of his vision.

“I — I told you not to follow me!” you say, your voice cracking over the words, your skin nearly translucent as it strains over your ribs.

Zoro ticks his tongue against his teeth, “Yeah well — we never said we’d listen.”

You drop your head, your throat bobbing around a mirthless laugh.

Everyone jumps at the sound of clapping, loud and slow and measured. A moment later, a man in a fur-lined coat with a thick set of stitches across his face steps out from behind the massive tree, a cigar caught between his teeth, a steely glint to his eyes.

“Well done, well done — if it isn’t the infamous Strawhat Pirates,” the man says, crossing his arms and taking a long puff of the cigar.

Luffy takes a step forward, “We are just here for our friend!”

“Your friend?” the man says, an eerie smile splitting his lips as he takes the cigar between two fingers and glances towards you, “you didn’t tell me you’d made new friends, Miss Double Nines?”

You wince at his words, twisting your head as he blows a stream of smoke at your face.

Zoro jerks forward, only to be caught again — this time by Sanji and Nami both.

“Ah, but this is wonderful! We should give your new friends a proper welcome, no?” the man opens his palms, laughing heartily before the forest around them shudders. And then, everything beneath them turns to sand.

It is not a long fight, and Zoro only remembers it in faint flashes — the base rumble of the earth shifting beneath them, the sky-splitting crack of tree trunks as the forest around them roils and breaks. Through it all, he remembers the sound of your voice, calling out something before it’s muffled by a pair of too-large hands —

And it isn’t till he finds himself standing on the thin stretch of beach with the rest of his crew that his mind returns to him, jarred and unsettled, but lucid.

The man with stitches across his face grins, your body caught beneath his arm like a rag doll. He laughs as he tosses you down onto the sand at this feet.

Both Zoro and Sanji charge forward, only to stop in their steps as the man cocks a gun and levels it at the back of your head. He grins, tilting his head.

“Go on,” he says, “she’s right there, isn’t she?”

Sanji crouches down, his eyes narrowed. Zoro’s jaw clenches as he adjusts his hold on his swords.

You shake your head, your hair a dark spill around your shoulders, peppered with sand as you push yourself up onto hands and knees, your gaze imploring as you look up at them.

“Don’t.”

Zoro feels something inside him snap at the broken register of your voice.

He charges forward just as the man reaches down to grab a fistful of your hair and tug you backwards, pressing the muzzle of the pistol to the side of your head.

“Let her go, and I might let you live,” he snarls between gritted teeth.

The man grins, savage and unbothered, shaking you like a marionette on tender strings. You let out a soft groan as he digs the gun further into your temple.

“Ah… I’m not sure I like being threatened on my own turf,” the man says, his voice soft as he trails the gun along your face down to your throat before pressing it the soft spot just beneath your chin. Your eyes squeeze shut.

“Wait —!” Zoro’s voice cracks like a gunshot over the word, desperation wriggling it’s way up his throat till it’s spilling out of his mouth.

The man’s eyes go dark at the sound, his mouth splits wide on a savage grin as he trails the gun back up to your temple, caressing the trigger with almost lethargic ease, clicks down the safety — and shoots.

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pls comment below to be added to the tag list! :)

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Tragic Hero

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Now the final part of the monologue in that chapter.

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

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

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

The second monologue is more denial.

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

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

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

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

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

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

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

As Codenamesanzanka says:

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

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

As @class1akids says in this reaction post:

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

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

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

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

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

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

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

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

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

Pro Hero Arc:

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

Hellish Todoroki Family 1:

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

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

Dabi's Dance:

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

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

The Fight Against AFO:

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

When Enji decides to double Suicide with Toya:

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

Hellish Todoroki Family Final:

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

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

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

As observed by Class1akids when we were discussing the update:

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

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

Batman doesn't fight victims. He saves them.

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

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

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

The Tragic Villain

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

Well, let me explain.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hey buddy, you're being selfish.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Themes Are For Eight Graders

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

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

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

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

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

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

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

Like, no.

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

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

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

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

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

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

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

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

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

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

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

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

"I wish you could be here, Toya."

"We all have to go stop, Toya."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EPILOGUE

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

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

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

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

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

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

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

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

You didn't mention Shoto once in this post:

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

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

[silver-studios]

How Shang Qinghua Ends Up Conning a Sect

AU where everything happens as it does in canon right up until the Mobei-Jun mission.

Shang Qinghua's system warns him earlier than it does in canon to be prepared, and he connects the dots, at which point he freaks out because he does not want to become a canon fodder spy. So SQH starts to protest being assigned to the mission, doing his best to get out of going by grovelling before his shixiong. Unfortunately, the Peak Lord happens to be passing by as this is happening and expresses disapproval at SQH trying to shirk his duties, forcing him to go and also ending up in him being saddled with even more chores while he’s at it much to his fellow disciples’ smug pleasure.

Not that the smugness lasts for long since they all end up dead. SQH does what he does best and just plays dead instead of pledging allegiance and then runs away once MBJ passes out (no moshang in this AU rip). He makes his way to the Sect alone because he isn’t even sure if they’ll send someone for him and makes it there just as the search party is leaving, bursting into tears from exhaustion and relief and admitting that everyone else is dead because of a demon attack.

He’s mostly numb and in denial in the aftermath because what do you mean he’s just subverted his major death flag?? Does he just live normally now until Luo Binghe swings by to massacre them?

He’s debating this when SQQ swoops in suspiciously to question how Shang-shidi alone managed to survive and crawl his way back to the Sect, to which SQH freaks out and kind of implies (or outright states) that he can see the future. SQQ is immediately disbelieving and YQY intervenes because SQH looks close to having a stroke, and SQH figures that since he has already stuck his foot in his mouth, he may as well buckle down and run with his technically-not-a-lie. So, he tells them that he knows their whole lore, even name dropping Xuan Su, the Qiu mansion and Wu Yanzi because he's pretty much obligated to commit to the bit at this point.

YQY pales and SQQ immediately goes on the defensive, telling him to keep his mouth shut, to which SQH protests because he’s known this whole time and hasn’t said a word. He really just wants to lay low and mind his business, guys, he swears. This is YOUR toxic doomed yaoi, not OUR toxic doomed yaoi.

YQY tells him that SQH clearly has a gift and they should inform the Peak Lords. SQH protests because obviously there’s no gift to speak of, and his ass does not need to risk being exposed like this. SQQ— still clearly on the fence about the whole seeing the future thing— agrees and practically drags SQH to face judgement for his crime of bullshitting.

Surprisingly, the An Ding Peak Lord actually appears to consider this farce because he remembers how badly SQH didn’t want to go on this mission. Appearing horrified, he asks, “Is this why you didn’t want to go? Because you knew what awaited you?” SQH just goes with it, nodding along and looking extra pathetic. “Well, why didn’t you tell me?”

Because he’d look like a crazy person??? “This disciple is aware that his…foresight is hard to believe in.” Great, now his Shizun thinks he has a tragic backstory like Cassandra or something. Good. Feel bad. You sent SQH into the jaws of death after all. Some guilt is exactly what you should be feeling.

The Sect Leader who is also present is less quick to trust in SQH’s claims since he isn’t angsting over the death of a bunch of disciples, and he proposes that they test SQH’s abilities somehow. Shit, SQH should have written this guy to be stupider; now he’s about to be executed or something for lying. He wracks his brains desperately for the plot he only really half-recalls, and manages to give out the location of some super mystical artefact to convince them. Just to be safe, he also says he knows the courtesy names of the entire Qing generation to come, though he refrains from telling them exactly which pupil will inherit the names. It takes a few days to confirm both his ‘predictions’ but soon enough SQH has been dubbed a certified Seer.

He ends up having to spend some time with Qian Cao and the divination/feng shui Peak Lords so they can make sure he’s physically and spiritually alright while they try to work out the extent of his powers so he isn’t hurting himself somehow. Since there are no powers to speak of, SQH knows it’s all useless but just lets them do whatever. The divination/feng shui Peak Lord is a little puzzled because usually divination involves seeking visions out through ritual, sacrifice or calculation. Seemingly random visions that are involuntary and inherent are exceedingly rare. They can’t sense anything inhuman or demonic off him either so it’s 100% all him, which is a trait of an extremely rare form of shamanism. SQH is mildly hysterical listening to them puzzle over his bullshit but needs must.

”Shang-shizi must have encountered some powerful god or spirit as a baby or in a past life.”

Sure, yeah, let's go with that. Why ever the fuck not.

They inform him that evil spirits and demons are often attracted to people like him for their qi, so he needs to learn how to defend himself. Caught in a lie of his own making, SQH can only curse in his heart and agree.

The An Ding Peak Lord offers to let him transfer to the feng shui peak (still wanting to compensate SQH somehow) but System immediately starts threatening SQH who bursts into tears from how stressful this ordeal has been and begs on his knees to be allowed to stay on An Ding. His Shizun is deeply touched, mistaking his desperation as love for this peak, and of course allows him to stay, remarking over how he had no idea “Hua-er was such a good, filial child” and that “this master is so lucky to have such a devoted disciple.” The misunderstandings between them continue to grow.

Since he’s stuck spending inordinate amounts of time learning various chants, prayers and rituals to protect himself, he has to do some serious bootlicking if he ever wants to be promoted to Inner Disciple. Thus, SQH doubles down on sabotaging his seniors and currying favour with Shizun in every spare moment he has. At least the others are discouraged from giving him too many chores because of his tighter schedule and Shizun's guilt. Shamelessly, SQH employs some of the tricks he’s learning (like talisman-making and minor spells) to his advantage so that he’s positively hovering around his Shizun like a very dedicated housefly over an attractive pile of garbage.

His shizun is none the wiser and is convinced his little disciple is a dutiful angel. Soon enough, SQH bags his promotion and subverts System-given punishment.

Rumours about his “power” spread, and people want to prod and see for themselves if it’s legit. Most of the time, he has to turn them away because fuck you he’s not a fortune cookie and he has no powers to speak of anyways, but sometimes someone will ask him something that he actually does know. For example, A Qian Cao disciple needs to know where to find this super niche herb, or SQH knows how to cure this obscure predicament, or Qing Jing needs to know about some culture or beast, or Wan Jian wants to find a super rare ore. Shizun is struggling with a contract, but SQH recognises that name as wife #465’s backstory and spills the tea, allowing them to be “talked into” better terms. Sometimes, he just makes educated guesses about the economic scene based on modern trends and statistics, and people hail him as a prophet. As a gift, his Shizun gives him a journal they recovered from a former shaman. SQH is horrified by the fact that he now essentially possesses a grimoire.

Then one day, he receives a request from his juniors to investigate a shed they swear is haunted. It is haunted, but SQH manages to banish the ghost and it’s fine. No biggie. Why are they looking at him with stars in their eyes? He also realises atp that the more he learns to use the spiritual arts, the more he’s able to interact with spirits (very double-edged sword) and great now that’s one more dumb fucking way he could die. He decides to say fuck it to xianxia social norms and tattoos himself with protective seals because hell nah. There may or may not be a small fan club growing in the background but that's not important (it is to me I want him to be appreciated).

Inevitably, he’s assigned to a mission. Unfortunately, he’s stuck with SQQ, who specifically requested to work with him much to Shizun’s delight (his Hua-er is making connections!) and SQH’s dismay. They’re supposed to appraise some rare book or whatever and negotiate a trade because Qing Jing’s Peak Lord really wants this one fucking book. SQH spends the entire trip to the collector’s home sweating while SQQ glares at him. It just gets worse because once they get there, the place is closed which pisses SQQ off even more who acts like it’s SQH’s fault.

Before SQH can apologise for daring to exist, a woman peeks out at them from inside the shop and appears to be greatly relieved to see a pair of cultivators. She tells them her husband has been acting super fucking weird but the doctors’ haven’t been able to help, claiming that he’s just gone insane, but maybe the cultivators can take a look and make sure it’s not some demon. SQH wants to protest because this is so far above his pay grade but SQQ silences him with one look and asks to be taken to the husband since “My shidi here is particularly gifted with the spirit arts.” Shen-shixiong, please this one is sorry, have mercy!

Anyways, SQH takes one look at the guy and is like “No yeah he’s definitely possessed lol.” He has to perform some ritual to determine just what is possessing the husband though and learns that it’s a ghost that will have to be forcibly ejected out of the dude’s body. SQQ is dubious about his skills but goes along with it begrudgingly, helping SQH gather supplies for the exorcism since they’re stuck seeing this through now because of him. He’s being prissy, and Qinghua is already nervous about an impromptu exorcism when he’s never done one by himself so he ends up snapping at him about “I’m not out to get you! I didn’t mean to learn your tragic backstory, but I’ve known all along and could literally not give less of a fuck, so can you stop being even more of an asshole than usual and just find me some fucking flowers so we can be done with this and go home!” And SQQ is so startled by the uncharacteristic outburst that he goes along with it.

The exorcism is…fine. The ritual is ok, but SQH wasn’t expecting quite that much resistance, so he has to have SQQ distract the ghost while he works on banishing it back to whatever hole it crawled out of. It’s tiring work, especially for his first solo exorcism, and he pretty much passes out as soon as it’s over. He wakes up in one of the collector’s guest bedrooms and awkwardly apologises for fainting and also for screaming at SQQ earlier. SQQ looks at him and sniffs, graciously forgiving him. SQH earnestly reiterates that he’ll keep his mouth shut about the stuff he knows. SQQ doesn’t respond to that but tells him that the collector is giving them the book for free as thanks so they can fuck off as soon as SQH is well enough.

They give the book to QJ Peak Lord but before SQH can fuck off, SQQ corners him again. “Earlier, you mentioned something about Xuan Su that Yue-shixiong clearly wanted to keep secret. What is it?” SQH tries to dither “ah, it’s really not my place…” Then he sees the look on SQQ’s face, remembers that he actually values his life and promptly rats YQY out before scurrying off to safety while SQQ immediately flies over to Qiong Ding to rip YQY a new one for keeping such a huge secret from him.

SQH is tasked to tidy Shizun’s office before some guests arrive and ends up rearranging the furniture because the feng shui in there sucked ass tbh and his Shizun is so pleased by the gesture that he decides to start grooming him for head disciple duties. Not that SQH really realises what’s happening. He just knows he suddenly has even more grunt work to do and is silently cursing his Shizun out over it.

He’s on Qiong Ding for inventory when YQY corners him much to his horror because YQY is wearing his super creepy empty smile as he brings up how SQH snitched on him. SQH is already halfway through apologising for breathing when YQY cuts him off to thank him for the intervention, assuring him that if SQH needs help or a favour, YQY will have his back. Great. Thanks I guess???

Anyways so thanks to his connections, his Shizun is even more impressed and officially makes him Head Disciple. First order of business is actually a mission with Liu Qingge since SQQ is going with YQY. Their mission is to investigate a haunted mirror that causes hallucinations and basically tricks its victims into violent self-destruction. Before they can even enter, SQH is making LQG promise that he won’t try to attack or provoke the mirror because if LQG goes crazy and tries to kill SQH, he might actually die. LQG scoffs, mutters something about weak cultivation, begrudgingly promises, and then promptly gets impatient halfway through SQH extensive diagnosis and packaging process and tries to stab the mirror because it reeks of evil and should clearly be destroyed.

Luckily, SQH’s idiot system actually has its uses and it doesn’t allow any other sentient being to influence him meaning he’s pretty possession proof. Unluckily, LQG does not have this built in immunity and starts trying to kill SQH who is suddenly stuck fighting for his life against the soon-to-be War God of Bai Zhan. He runs and screams the whole time and kind of blacks out in his blind panic, but next thing he knows, he’s slapped LQG with a temporary qi disrupting talisman and locked him in a room. It won’t hold him for long, but at least he’s bought himself some time with this. SQH then has to go about exorcising the fucking mirror. Halfway through his chanting, LQG escapes his enclosure and bursts in, so now SQH is hysterically fighting him off while simultaneously finishing his chant because if he stops, he’ll have to start over and it might legitimately kill him. He manages and then chucks some stray debris to shatter it for good measure just as LQG tackles him. The spell breaks and LQG just kind of freezes, supremely disoriented and trying to figure out what is happening when SQH just fucking decks him, punting him through the already damaged wall and yelling, “I asked you not to do one thing, and what do you do?! You do the thing! The thing I specifically asked you not to do!! You fucking clown, Liu-shidi! You’re lucky you’re so pretty because, right now, it’s the only thing keeping me from ripping your face off and beating you to death with it” before promptly bursting into tears.

It’s a really awkward flight back home because SQH is straight up refusing to even acknowledge LQG’s existence (partly out of anger because what an idiot and partly because he just threatened someone who could definitely eviscerate him???), and LQG is unusually contrite in the wake of the mission that he almost botched and his usually timid shixiong’s fury. When they make it back to the sect, he goes to apologise (because SQH is a really fast flier and LQG could barely catch up to him the whole trip, let alone speak), but SQH cuts him off and orders him to go to Qian Cao and have them do a post-possession check up while he goes to give his Shizun a report on why they destroyed the mirror they were actually supposed to bring back for storage. LQG sulks harder but actually does as asked because SQH still looks to be in no mood for arguments.

Once things have calmed, SQH is mortified and determined to just avoid LQG because it’s super likely the guy will just forget about his existence so long as he stays out of sight. LQG does not forget. LQG keeps trying to seek him out and leaving monster carcasses for him to find, which SQH assumes with horror is meant to be a threat to his life and just avoids his shidi even harder. He’s not above fainting to get out of confrontations too! LQG has no idea what he’s dealing with.

A very frustrated and determined LQG finally manages to corner SQH after a Peak Lord meeting that the Head Disciples got to sit in on to learn since their shizuns are going to ascend soon. SQH decides that SQQ is actually the lesser of two evils and shamelessly dives behind him for cover which instantly pisses LQG off because “You’re willing to use him to avoid me?”

SQQ: Ex-cuse me? What is that supposed to mean?

SQH: Yeah! I love hanging out with Shen-shixong!

[collective disbelief]

YQY: (fake smiling and subtly hiding SQH behind him) Did you need something from Shang-shidi, Liu-shidi?

LQG: …wanted to thank him. and apologise.

SQH: Wait why????

LQG: for the mission. I screwed up and you had to complete the mission on your own when it was my job to protect you and provide backup. You could have left me since I was a hinderance to our objective and went against your orders but you didn’t. Thank you.

SQH: Well, it’s fine now, isn’t it?

LQG: (insistent) You saved my life

SQH: We’re martial siblings, haha, no biggie

SQQ: (immediately catching on and suddenly very smug) So you owe Shang-shidi a debt

SQH: He does????

LQG: I do

SQH: You do????

LQG wants to know how to repay the debt but SQH just waves him off, saying he’ll let him know if he thinks of something, mostly just to be rid of him because he’s really intense and it’s not good for SQH’s heart. LQG just thinks that SQH is dismissing him because he probably thinks LQG is unreliable after the disaster mission. Well, LQG will just have to prove him otherwise. And so begin the misunderstandings between these two as well.

Meanwhile, SQH’s Shizun watching with fond eyes: Ah, my Hua-er is making so many friends. He’s so popular. I’m so proud.

Qian Cao’s peak lord: Actually, I think he’s having a heart attack right now. Someone should probably get him.

The battle against TLJ takes place and most of the martial siblings have to go help the effort, though SQH is not one of them because the sect does have to keep running while everyone's gone. He’s helping SQQ double check that the Qing Jing supplies are up to par and he can tell SQQ is nervous because he's even more snappy and irritable than usual. Finally, SQH turns to him and says with certainty, “It will be fine, shixiong. You will be fine, Yue-shixiong will be fine, Liu-shidi will downright thrive.”

SQQ: Who’s worried about that meathead?

SQH: I’m just saying.

SQQ: …You’ve had a vision

SQH: Sure

SQQ asks for details and SQH admits YQY will have to unsheathe his blade but he will survive and his newly earned renown will really boost the sect’s own reputation once he becomes Sect Leader. Suspicious about the way SQH says that, SQQ prods about casualties. SQH admits that they will be ascending as Peak Lords very soon though he doesn’t elaborate on who it is specifically because “Knowledge of the future is a heavy weight to bear, shixiong.”

SQQ: What, you think I’m too weak to know?

SQH: I didn’t say that. I know exactly how strong you are and I admire you, but…I wouldn’t wish this burden upon anyone else, shixiong. Not truly. It’s dangerous and disheartening. People shouldn’t be privy to their fate. It’s unnatural.

SQQ lets it go because SQH looks abnormally intense as he talks about how he views his gift, but it does leave him thoughtful about just what kind of futures SQH foresees.

Anyways, the Sect Leader gets fatally injured in the battle, and the Peak Lords ascend hastily before he can actually die so that they can all pass on together. SQH finally succeeds in his longstanding mission, but he can’t say he’s thrilled about the promotion considering he has to really hit the ground running. An Ding can’t afford transition phases as things stand. So, he spends a month categorising which systems to keep, which to overhaul and how he’d overhaul them. All the staff is ruthlessly vetted, and he’s basically functioning as a one-man army just trying to keep on top of all the requests being sent his way too.

Needless to say, when he stumbles into the first official mandatory Peak Lords meeting, he looks like death itself. He’s straight up dissociating through most of it, only listening with half an ear when he’s directly addressed. He doesn’t even remember what he said when it was his turn to speak because he’s so out of it. At some point, he lifts his tea, misses his mouth and just pours it in his lap without blinking. SQQ watches him with equal parts clinical curiosity and disgust. The agenda is finished and it’s open floor for anyone who has anything extra to mention. Someone requests something from him and he nods along without really hearing it because if it’s not on paper, it’s not important right now.

Someone starts an argument and Qi Qingqi is being extra loud to be heard; they still haven’t been dismissed even though all of this is unnecessary and SQH has a killer migraine. He turns to god and prays for patience. SQQ, sitting next to him and listening, corrects him because he’s using the wrong phrase. “You mean strength,” he says.

SQH snorts and mutters under his breath, “If the gods gave me strength, Qi-shimei would be dead.”

In a room of Peak Lords, whispering is pointless. There is silence as everyone stares at an unusually vindictive SQH. QQQ looks baffled, affronted, and impressed simultaneously.

Then, LQG mutters, “I thought I was the only one he threatened like that.” He manages to sound both relieved and put out.

SQQ, like a shark smelling blood, turns to stare at him judgmentally and, in a condescendingly sweet manner, asks, “Is shidi upset about not getting special treatment anymore?” The provocation works, of course, and a new argument errupts.

SQH watches blankly, hands twitching to his sleeves where he keeps talismans, tired and unhinged enough to actually contemplate literally cursing his martial siblings when a pointed “Shang-shidi” draws his attention to YQY who smiles emptily and says, “No.”

”But, shixiong—”

”No.”

Then, one day, YQY, SQQ, SQH, QQQ and LQG are on their way back from some formal sect event or the other when they come across a growing mass of supernatural resentment flying right towards them. Naturally, as the ‘psychic’ SQH is looked upon to figure out what is going on. He’s reluctant to really get close and is kind of mumbling while he places diagnostic arrays, “Man it’d be convenient if you could just straight up tell me so we’d all save time.” The mass kind of pauses for a moment and then clears just enough for SQH’s more supernaturally attuned eyes to see.

”Su Xiyan?!!”

Su Xiyan the Bog Monster is clearly trying to tell him something but he’s not psychic enough for actual ghostly communication so it takes him a second to make out through the garbled moaning and pained shrieking that she says baby at some point. “Oh, Luo Binghe?” he says, happy just to have caught something. The Bog Monster projects surprise. The Peak Lords watch with dispassionate confusion.

“Yeah I know the whole story. Sorry about what happened to you by the way. I couldn’t really do anything to stop it unfortunately. Something about fixed points in fate that can’t be changed? Not that that’s like fair. To you, I mean.” Great now he feels guilty and SQQ has the creepy contemplative look in his eyes again. “So, how can I help you?”

More convoluted bog monster charades ensues. Finally, he guesses she wants him to go find LBH and take care of him because he’s just been orphaned. Again.

So, SQH turns to his fellow Peak Lords, shrugs at them, offers no other explanation and accepts that he’s about to change the fate of the world as he knew it. In the end, it’s maddeningly simple really. LBH is a tiny thing, all of seven years old, big eyes in a precious face framed by adorable curly hair. SQH tells him he’s an immortal master who knew his birth mother and LBH, after some explaining that his mom actually loved him and was forced to abandon him because she was dying, agrees to go with him. So, SQH is officially a dad now. Su Xiyan, satisfied that her baby is ok for good, lets go of her resentments and moves on to the afterlife.

SQH has the dubious honour of explaining to his martial siblings that he has adopted a half-demon child because his ghost mom asked him to, admitting to the full story of what actually happened between Su Xiyan and TLJ. Understandably, they’re shocked. There’s initially some questions about why SQH didn’t say anything sooner when an innocent Su Xiyan was imprisoned. SQH says that he couldn’t. SQQ deduces that his gift of foresight actually comes at a cost.

There’s no gift so there’s no real cost, but SQH isn’t above lying. He just openly says that if he tries to change certain things he knows of, it would cost him his life. He didn’t even want to come to Cang Qiong initially, but every time he even thought of changing his fate, he knew he’d die. He knew about YQY’s qi deviation before YQY had even become an inner disciple but again he couldn’t stop it. He hadn’t even thought of intervening in LBH’s fate because he’d assumed he couldn’t. He doesn’t know why he’s being allowed now.

SQQ catches onto the implication that LBH is important to fate somehow then, and SQH haltingly admits that, as far as he knew, LBH would have the power to end the world if he so wanted. If Cang Qiong looks after him and supports him though, they’d have all that power devoted to them. In the end it doesn’t take much convincing to be honest. LBH does have that white sheep protagonist halo thing going for him after all.

SQH ends up freeing TLJ, claiming that he’s just diverting the potential end of the world. TLJ is revived and told the full truth of what happened. He meets LBH who is very confused and very shy, but not averse. At least until he realises he might have to go away with TLJ at which he point he bursts into tears because he doesn’t want to leave SQH. Since TLJ is now stuck co-parenting, he agrees to a secret alliance with Cang Qiong and goes to make sure the demon realm hasn’t forgotten who’s boss.

LBH grows up in both realms, learning under LQG and his dad and fully coming into his own as a supremely powerful cultivator and heir to the demon throne. SQQ asks if SQH ever foresaw his own death and SQH admits that he did. He saw all of their deaths. SQQ asks if fate really can be changed to which SQH is happy to report that yeah, not everything is set in stone.

”And what do you see now?”

”Nothing actually. I haven’t had a vision in years.” Or ever.

”Doesn’t that make you nervous?”

”Everything makes me nervous, shixiong.” Pause. “But, this once, it’s not too bad. Not knowing what the future holds means that anything is possible.”

Fate will be what they make of it now, and this is just the beginning.

[magnagaruzenmon]

Recuperation

Okay now y’all are stuck with me for a while until Dinozen finishes his massive stories.

After a long day at work, you finally had the apartment to yourself. You dropped your bag by the door, kicked off your shoes, and shuffled into the kitchen. Tonight called for something simple—instant ramen with an egg and whatever leftover vegetables you could scavenge from the fridge.

With a steaming bowl, you sank onto the couch, remote in hand, ready to lose yourself in some anime. It took you about ten minutes of scrolling to land on Kaiju No. 8. The title floated online for a while, and curiosity finally won. From the first episode, you were hooked.

There was something about Kafka—the way he struggled with his responsibilities, the weight of his unfulfilled dreams—that felt oddly familiar. Sure, you weren't dealing with kaiju or life-or-death stakes, but the longing to be more, to be something greater, resonated in a way you didn’t expect. You leaned forward, ramen forgotten, completely immersed.

So much so that you didn’t even hear the door open.

“Hey, babe,” Tsuki’s cheerful voice cut through the action on-screen.

You flinched, fumbling for the remote and pausing the episode mid-explosion. Turning toward her, you found her standing in the doorway, framed by the warm glow of the hallway light. Her work bag was slung over one shoulder, and her dark hair spilled loose over her shoulders, a few strands clinging to her face from the cool night air.

“Oh, hey!” you said, still recovering from the surprise. “How was your day?”

“Long,” she said with a dramatic sigh, running her hands through her hair in mock exhaustion. Then she glanced at you, her lips quirking into a playful smile. “What about you?”

“Same,” you replied, matching her sigh for effect.

She laughed softly, setting her bag down by the door before crossing the room to sit beside you on the couch. The scent of her perfume—subtle, floral—cut through the lingering smell of ramen, a comforting contrast. She leaned in and kissed your cheek, her lips warm and soft.

“What are we watching?” she asked, her eyes flicking to the screen.

“Kaiju No. 8,” you answer, handing her the remote so she can read the episode description. “Just started it. Have you ever heard of it?”

Tsuki raised an eyebrow, scrolling through the details. “Mmm, I think Sua might have mentioned it once. Said it’s about a guy who turns into a kaiju, right? Sounds like your kind of thing.”

You chuckled. “What’s that supposed to mean?”

“You know,” she teased, nudging me with her elbow. “Big monsters, lots of fighting, some tragic backstory—sounds like you.”

You rolled your eyes, but her smile was infectious. “Well, it’s good so far,” you said, gesturing toward the screen. “Want to watch with me?”

She tilted her head, pretending to consider it. “Hmm, I was thinking of a bath and bed, but… sure. I’ll give it one episode. You can’t complain if I fall asleep halfway through, though.”

“No promises,” you said, grinning.

Tsuki tucked her legs under her as she got comfortable, resting her head against your shoulder. You hit play, and the room filled with the sound of explosions, roaring kaiju, and Kafka’s determined voice.

As the episode unfolded, Tsuki occasionally murmured comments—mostly teasing ones about the characters or the animation—but it was clear she was getting into it.

“You’re really good at understanding this now,” she said suddenly during a quiet scene.

“What?” you asked, caught off guard.

“Your Japanese, it's gotten better,” she said, gesturing toward the screen. “I remember when you’d have to pause every five minutes to look something up. Now you’re keeping up with all this kaiju jargon like it’s nothing.”

You felt your cheeks heat a little. “Well, I’ve been practicing. Plus when I was a kid I used to watch Godzilla all the time and a lot of the jargon is the same… I guess I have a pretty great tutor.”

Tsuki grinned, her cheek resting against your shoulder. “Damn right, you do.”

The episode continued, but your focus shifted. You made the mistake of glancing at Tsuki, who was sprawled comfortably on the couch. Her hair was slightly messy from the day, her makeup faded but was still perfect to you. She looked so effortlessly sultry yet so at home, and it broke your brain for a second.

“You’re so hot,” you blurted.

Tsuki sat up slightly, her eyes wide with mock disbelief. “Excuse me?”

"I said you’re so hot,” you repeated, more confidently this time. “Like, you just walk in here, hair all messy, talking about kaiju and complimenting my language skills—how am I supposed to focus on anything else?”

She laughed, her face lighting up in a way that made your chest feel warm. “You say the most random things sometimes,” she said, leaning in to kiss you. “But I’ll take it.”

The kiss lingered for a moment before she pulled back, her eyes soft. “Alright, let’s see if Kafka can beat that.”

“Good luck to him,” you muttered, earning another laugh.

As the episode ended and the credits rolled, Tsuki let out a contented sigh. “Okay, I see the appeal. Maybe I’ll stick around for a few more episodes. But first—” she stretched and yawned, “—I’m grabbing some of that ramen you’re hoarding. Save the next one for me?”

“Actually, I’ll do you one better,” you said, getting up and heading into the kitchen. Tsuki followed, curious. “Sit tight—I’m making breakfast ramen for you.”

Her eyes sparkled under the low light of the apartment. “Your famous breakfast ramen?” she asked, her voice laced with excitement. You nodded, already pulling ingredients from the fridge.

When you slid the steaming bowl across the counter to her, she took her first bite, her eyes widening like a kid opening a gift. “Ah, so cute,” you teased, and she blushed, mumbling something about how unfairly good it was.

“You ever think about becoming a chef?” she joked, savoring another bite.

You laughed but decided to bring up something you've been meaning to tell her. “Actually, I’ve been thinking about pursuing something new.”

Tsuki paused, her chopsticks mid-air. “You’re not leaving me, are you?”

“Not a chance,” you said quickly. “But I’ve been working on getting my pilot’s license—helicopters, planes, the works.”

Her eyes widened with admiration. “Wow. First photography, now flying? You’re really living up to that Nigou comparison.”

You rolled your eyes as she laughed. “Hey, I need something to do while you’re busy being a superstar.”

Tsuki gave you one of her smiles—the kind that radiated love and warmth, the kind that made everything else fade into the background.

“What are you staring at?” she asked, tilting her head cutely.

“Oh, don’t worry about it,” you said, grinning.

She pouted, poking me with her chopsticks. “Fine, but only because you’ve been pampering me all night.”

You smiled as she finished up, then her eyes took on a different kind of hunger. She abandoned her bowl before approaching me.

"You know it's been a little while since we've had alone time like this," she says, with a sultry tone. You blink at her a few times until she brings you in for another kiss. This kiss brings with it her hands wrapping around your shoulders, as she brings you in close her tongue finds its way into your mouth. Tsuki breaks the kiss and then says, "I always love how sweet you smell. Whether it's vanilla oranges or blueberries. You always smell like dessert, and I think I'm in the mood for some right now."

Tsuki pulls you in for another kiss as your hands wrap around her and dance around her svelte body. You smile into the kiss as she continues to kiss deeper.

"Fuck!" she groans before guiding you to the bedroom. She lifts up her top and her petite and pert breasts greet you. She smiles and then says, "Take that cock out," You shrug and oblige her as she smiles before taking you into her mouth. Her pouty lips spread all around your cock as she begins to slide up and down your length. You moan and Tsuki says,

"you like that," as she speaks she slowly rubs your shaft before taking you back into her mouth. She lightly bites the tip causing a bizarre sense of pleasure that almost makes you explode then and there. Tsuki smiles and groans around your cock.

"Please cum for me, baby. I want my cream for dessert," she says, and that's what gets you as you pour hot cum down her gullet. And Tsuki smiles around your cock before lifting herself up.

"Thanks for dessert, now let's continue this in the bathroom so we can both get clean," she says.

[am-i-the-asshole-official]

AITA for letting a friend think my husband is cheating on me? A few months ago, my husband (30s) told me (also 30s) he has an adultery kink, but has no interest in actually cheating on me. His proposed compromise was that I could dress up a little different than usual, put on a wig, whatever, and then we could roleplay. A little weird, but I MUCH prefer him communicating stuff like this and working with me rather than the alternative. plus, i get to invent a character and give this fictitious homewrecker a tragic backstory; always fun. I'm thinking about giving her an epic revenge quest to explain her daddy issues. Anyway, I genuinely do like dressing up and I bought the wig anyway, so sometimes I go out in public dressed up as my Homewreckersona, and the long and short of it is a friend saw me with my husband, did not recognize me, and assumed the worst. The next day she called me up like "honey have you considered killing him" and I didn't know what to say. I can't just say "oh, I'm indulging my husband's kink in public." I cannot explain how much I do not want to talk about our sex life with anyone who actually knows me irl. I have to look these people in the eye. Also, she's the type who would tell me his kink is inherently abusive or something and I think it's ultimately harmless if this is how he's playing it. My married life, my choice, right? But anyway, I lied and tried to be like "oh her? yeah I know her. they've been friends for years and there's nothing weird going on. they're like siblings so don't even worry about it because he's not cheating I promise" and for sure she didn't believe me. So in effect, by lying, I have accidentally convinced a gossipy member of my friend group that my husband is cheating on me and I'm clueless about it. If five more people haven't been served the nonexistent tea by Friday, I'll eat my hat. AITA for letting him take the fall on this one just so I can avoid the excruciating embarrassment of admitting to kink stuff? PS: for anyone convinced he really does want to cheat, I tested him a little when he first brought it up and asked if there was any particular look he wanted me to go for (just to see if there might be a specific person he wanted to cheat with who I was intended to emulate) and he said no, whatever I picked would be great, because for all that he had the kink conceptually, he'd never actually wanted anyone but me. I know I'm biased but that's the cutest shit

[saylor-twift]

“he loves you, but he would never say that to your face.”

“-but he would never admit that.”

“-but he would never tell you.”

???

Are you sure? I am an avid tumblr stalker, and I’ve read so many things on silly little hat man in my time. I’ve seen things that tore my heart to pieces, that patched it up, that made me want to rip my guts out and throw up, that made me feel on top of the world.

And yet this is the one thing that bothers me so very much. I know, everyone has their own interpretations and opinions on different characters. So let me share my own.

The Wanderer is such a deeply written and intricate character, strung together with deep fears and insecurities, tragic backstories, and a beautiful story of change, healing, and moving forward. (I hate hate hate it when he is forced down to the level of nothing but oversexualization and “uwu sexy anime boy”, but that’s a conversation for another time.)

I’m sure if you’re reading this, you’re probably acquainted with Wanderer’s backstory, so I’m not going to explain. A lot of shit happened that made him who he is, and ever since the events of Irminsul, he has taken on a new path that he cannot go back on. Not like he’d ever want to. He said it himself, he never had any intention of returning to the Fatui. (And also- why choose to go backwards when you’ve got such a nice path set ahead of you?)

Anyways, point is, he’s changing. Notice how I said changing. He’s not changed, he’s just starting to. He’s getting there. Which brings me back to my argument. In the case that Wanderer ends up with a partner, things are certainly not going to be like a normal relationship. (He’s got plenty of red flags, don’t even try to deny it. But he’s a fictional character, so I suppose we can let this one slide.) Is he going to make the first move? That depends on if you make him desperate enough. Otherwise, it’s all on you, babe.

He’s not going to take it well. He’s going to deny it as hard as he can. You don’t love him, how can you? He is the furthest thing from loveable as you can get on this godforsaken planet. (His thoughts, not mine) But he certainly loves you, and, albeit with some likely pressuring assistance from Nahida, he’s come to terms with that terrifying knowledge.

“But he wouldn’t admit that to you.”

STOP. STOP RIGHT THERE.

Here is where my controversial opinion comes in. Most people tend to portray Wanderer as this cold, cut-off, aloof and irritable man, even in a relationship. And before you say anything, no, I absolutely do not think he would be the lovey-dovey, sappy, overly caring and romantic type. He’s not on either end of the spectrum, but I do think he’s somewhere in the middle (but probably leaning towards the former side).

Love is so, so very scary to him. And downright unknown. He’s traversing into uncharted waters here, give him some space to figure things out. That being said, he’s testing these waters. He’s not going to say he loves you at the beginning of a relationship. He has to make sure this thing is going to work. Your relationship is a newly built bridge, and those three words are the heavy cargo passing through. Without a strong foundation, the bridge is going to collapse, no questions asked. The only problem is, it’s going to take a long, long time to build that bridge. It’s going to be more expensive, more time consuming, and cost more materials than you had originally bargained for.

But that cargo can’t sit on one side of the bridge forever, can it? No, it has to get to the other side at some point. So if you have the patience to give your time to this bridge, the cargo will find its way to the other side. The foundation may wobble, the planks may shake, but the bridge isn’t going down.

He loves you, and he would admit it out loud. He would say it to your face. Just maybe not as soon as you want it. It’s going to hurt, and you’re going to wonder if he actually cares for you or not. Fear not, because if you pay attention to those little things he does when you’re not looking, it will feed you those little crumbs you need till you can finally be satiated when the full meal is done cooking. He mends things for you, things you had given up on because you’d never have the time nor energy to do it yourself. He cooks, and surprisingly, it’s always your preferences. He collects things that remind him of you, some he keeps out of embarrassment, and some he leaves on your bedsheets whenever you’re not home.

He’s been hurt, abandoned, and betrayed far too many times to immediately let himself fall into something as complicated as a relationship. He’s going to be distant, you’re going to disagree, probably fight a bit. He’s just seeing how far he can bend the lines, how much you really want him. (red flag maybe!! but he’s working on it, it’s going to be okay. mayyyybe you can look past just this one…) If you won’t leave even if he does this, then he thinks, maybe you’re the one. Maybe fate decides to treat him benevolently for once.

And when you finally, finally get to that point, he’s going to drown you so deep you can never get out. He’ll say he loves you, does everything in his power to make sure you never forget it. (no, he’s not going to read you love poems in the moonlight and call you darling. sorry if that’s your thing, that’s not who he is.)

This relationship will never be perfect, but relationships never are. Just as long as the two of you are willing to be patient with the other and get through your differences and clashing personalities, you are going to mold together perfectly. And even if he doesn’t say it often, (which he probably won’t. he’s certain you know it. why repeat something already ingrained into your mind? he doesn’t use those words lightly), it’s not like he’ll never say it. He won’t leave you in the dark for too long. He loves you, don’t worry. He’ll say it, but he prefers to show it.

[loudclan-clangen]

Fish in a birdcage for Rosehip amd Dodwood tho

YES

Bee is not one of the rogues himself, but two of his sons are! Also one of Butterfly's sons, and two of Coal's sons that he had after Fiercestripe left. They aren't really important to the story so they don't get names or anything, but I think that it makes everything a little bit more tragic that Fierce is fighting her nephews who she would have loved to watch grow up and might recognize her from when they were young.

2. Kingfur and Sockeyepelt would both be pretty devastated if Chumtail dies, she's similar to Dashpaw in that she's kinda the mediator between her two more polarized siblings. Really everyone who's up on the chopping block is the most stable of their family, meaning everyone is going to be very NORMAL after this, I'm sure. Also thank you!

3. Yes! There will be stickers of the mediator kids (especially now that you've asked). I'm drawing sketches based on what people have requested, and I'll make a post letting everyone know when they go up. Currently I have Weed, Siltsplash, the Mediator Kids, and some couple stickers in the works.

There were many factors in Fiercestripe's decision. 1. Thorn was 4 moons old by the time Fiercestripe left, so she was well past carrying size (especially with Fiercestripe being a small cat). Even if Wildfirecry could carry her, or she walked on her own, it would slow their pace significantly and require them to take more breaks, leading to the farm cats likely catching them. 2. If Fiercestripe had taken Thorn then the farm cats would have more justification to track them down and forcefully bring them back. It's one thing for a she-cat to leave, it's another for a she-cat to take her mate's kit with her. (part of why the farm cats have made it to loudclan now is because they're chasing a pregnant she-cat). 3. Wildfirecry hadn't agreed for Fiercestripe to come with him. He was a stranger who had stayed a couple nights with the farm cats and was just as likely to turn her away or harm her as he was to allow her to come with him. He would have been a lot less likely to agree to travel with her if she came with the responsibility of a kitten. 4. Wildfirecry and Fiercestripe did not have an easy journey. They didn't have a destination or a set path, they just wandered from place to place for years until they were convinced to join Loudclan. It's pretty likely that had Thorn been brought with them she would have frozen, starved, drowned or been eaten by a predator given that Wildfirecry was the only one with any hunting or fighting skill, and kittens aren't as tough as grown cats. All in all, bringing Thorn along wasn't really an option. Fiercestripe's only choices were leave Thorn or stay with the farm cats and hope that another outsider came along later when Thorn was grown. (Thorn's story is a bit different, Frost and Spider were outsiders who joined the farm cats later in life, so Frost knew how to hunt and fight, thus allowing them to wait for their kits to grow before they left.)

I designed them on my own! I find pretend genetics very fun and it gives me a chance to think more in depth about the rough backstories I have for these characters and how their childhood would have affected the way that we see them act in the story.

[daryl-dixon-daydreams]

reader pronouns: she/her "Daryl—" Carol met him at the bottom of the stairs. He had the tray from the day before in his hands, the slender flower now wilted and doubled over on its collapsed stem. The food was untouched but the water glass was missing. "Maybe—maybe you don't need to do that anymore." Her eyes drifted up the steps over his shoulder and she could see the fresh tray sitting outside your closed door. There was a fresh white lily in a little glass jar beside the plate and cup.

He shook his head, ducking his eyes. "I dun mind," he drawled, starting to move past her.

Carol started again, gently. "It's just—she doesn't seem to be—maybe she just wants to be left alone."

Daryl looked confused. "She ain't alone. Tha's the whole point." Carol opened her mouth again to speak but he interrupted her. "Look, she just went through hell like I can't imagine... Hell that I dun think any of us even know all of yet... I dun care how long it takes. I'm gonna keep leavin' her trays and makin' sure nobody gives up on her. She needs to know that—that this is a safe place and that it can be her home. That people care here. She just needs time... that's all. She don't know us yet. She's hurt and scared. And I dun blame her one bit."

Carol softened and gave him a fond look, nodding. "Alright."

He drifted past her toward the kitchen.

"Daryl," Carol said again, stopping him one more time. "She's lucky to have you pulling for her."

He managed a half-smile and went on his way. A/N: Ugggghh MY HEARTTT I want to write this as a whole fic. Reader with a tragic backstory (duh) and Daryl winning over her trust and her heart. 100% here for it...

[sorcave]

After spending some time thinking about Peter Pettigrew, I’ve realized there’s a huge disconnect between how he’s portrayed in canon and how the fandom—especially within Marauders fanon—handles him. Let me preface this by saying, I get it. The Marauders era is filled with beloved, tragic characters like Sirius, Remus, and James, who are all charismatic in their own ways. It’s easy to frame Peter as the villain, the weak link in the group, because, well, he is the one who betrays them. But I can’t help feeling like fanon’s interpretation of him has become deeply flawed and even unfair in its simplification of his character.

Peter Pettigrew, as written in the books, is actually a much more complex figure than the rat-betrayer caricature that fanon often makes him out to be. He’s not some mustache-twirling villain, nor is he just a pathetic hanger-on who was lucky to be in the Marauders’ circle. If you really pay attention to the way his character is written, he’s someone who’s constantly underestimated by the people around him, including the very friends he ends up betraying. He’s not powerful in the traditional sense, but his cunning is what allows him to survive the chaos of two wizarding wars. He’s not a mastermind, sure, but he’s resourceful in a way that deserves more recognition than he gets. Canonically, it’s clear that he isn’t just bumbling around until he stumbles into Voldemort’s arms—he’s making calculated choices, and we need to give those choices the weight they deserve.

This brings me to why I think fanon’s insistence on reducing Peter to a one-dimensional villain is so misguided. There's this huge trend in Marauders fandom where Peter is either villainized beyond recognition or, worse, completely written out of the story. He’s often replaced in fanon with a random “better” Marauder, or he’s ignored entirely, as if his betrayal somehow disqualifies him from being part of the story. And here’s the thing: canon compliance isn’t a crime! In fact, canon gives us a far more interesting story. The tragedy of Peter’s betrayal is that he was their friend—he shared their dorm, their secrets, and their history. His actions were not driven by some inherent evil but by fear, survival instincts, and yes, cowardice. It’s a much richer narrative than reducing him to a monster.

In the fandom, there’s often this hyperfocus on moral purity when it comes to the Marauders, especially when it comes to ships and rewriting dynamics. Peter, however, disrupts that neat narrative, so fanon tries to erase him to preserve the integrity of the fan-created relationships. But that oversimplifies everything. Why should we villainize people for sticking to canon when canon is, arguably, what makes the Marauders’ story so compelling in the first place? The fall of the Marauders—this group of young, talented, promising boys—hinges on Peter’s betrayal. You can't just ignore that without losing a fundamental piece of what makes their story so tragic. He’s not a random character you can swap out. He’s the pivot point.

Peter’s character also raises some interesting discussions about how we view heroism and villainy in fandom spaces. For instance, we’re often quick to forgive other characters—Sirius, for all his bravado, is reckless and cruel to people like Snape, but we don’t hold it against him in the same way. We empathize with his trauma, his tragic backstory. So why is it that Peter, who is also a product of his circumstances, is written off? He wasn’t born evil; he was shaped by the same war that shaped all of them, but his path led him to make different choices. There’s something so fascinating about exploring how someone who was once a friend could betray everything. It’s a conversation about human flaws, not just villainy.

And yes, in a world full of Marauders fan content, it’s fine to like your AUs or write your fix-its. But let’s not pretend that sticking to canon, and appreciating Peter for the complex character he is, is somehow less valid. The fandom would benefit from looking at Peter as more than just “the betrayer” and instead as someone who, like everyone else in the story, is a deeply flawed person whose mistakes have devastating consequences. That makes the story richer, more painful, and ultimately, more meaningful.

forgive me for the ramble but Im going insane with my term paper and my thesis, unfortunately I've been diving too deep into the marauders again

[animebw]

I've seen Kimi ni Todoke get pigeonholed a lot as a sweet, fluffy series that's nothing but good vibes. And to be sure, this show is sugary sweet to a truly dangerous level. Every second I spend with Sawako and Kazehaya feels like I'm putting myself at risk of some yet undiscovered Type 3 Diabetes. But reducing Kimi ni Todoke to its fluffiness leaves out just how wrenching it can be. It may not be as raw an emotional wound as Fruits Basket's exploration of abuse, but there is a deep, aching agony at the heart of this show just as palpable as its sweeter moments. And it comes from understanding one very basic fact: the greatest sources of happiness in our lives are able to cause us even greater pain.

Throughout this story, Sawako's most painful moments don't come as a result of bullies or tragic strokes of fate. They come because she cares about someone so deeply that the thought of losing them- or worse, hurting them with her mistakes- becomes impossible to bear. Not just with Kazehaya, but with Chizu and Ayane in the first arc when their budding friendship is almost shattered and they realize how much they've come to love each other that the thought of losing each other hurts this much. Same for Kurumi's feelings for Kazehaya, or Chizu's feelings for Ryu's brother, and all the other crushes that go unspoken for so long. To love someone in Kimi ni Todoke means to leave yourself vulnerable, to accept the possibility that things will go wrong and this thing that's so special to you will shatter like glass in your hands. To love is to open yourself to agony; to agonize is proof that it's love at all. It's a pain the characters risk again and again, because the connections they've forged are too precious to give up on.

And nowhere is that idea more strongly expressed than Ryu and Chizu's backstory. Seeing how deeply entwined their lives have been, how tragedy and suffering have shaped them, how they've both actively chosen again and again to be there for each other through thick and thin... god, I don't think this show's ever made me cry this hard before. Just the image of Chizu making rice balls for Ryu over and over again to try and replace the hole his mother's death left was enough to make me lose my shit. Never mind seeing Ryu actually cry for the first time. Time and again, the only option they have is hurt with each other, to sink into suffering together and carry each other to the other side. But they make that choice regardless, because they will be fucked if they leave the other to drown alone. Their bond is more than a childhood friendship, or even a burgeoning romantic relationship. It's a connection as essential a part of their lives as eating and breathing, a fundamental truth of their shared existence that they willed into being.

And it's no wonder that Chizu is terrified of losing that after Ryu confesses. How dare he stab a spike through everything they've been through? How dare he shatter their status quo and leave them unable to return to that part of their lives? But once again, all that is just Ryu choosing, once again, to face the pain that comes with loving someone head first, accepting the risk that things will never be the same... in hopes that something entirety new can still be born from its ashes. It's him putting his faith in what he and Chizu have together, trusting that no matter what, they are too important to each other to let go even in waters this stormy. It is, quite frankly, as powerful and honorable an expression of love as I've seen in a very long time.

This show is really fucking good, you guys.

[lunarriviera]

yet another shen yi meta [uts2 spoilers]

hi hey hello everyone i continue to be tormented with obsessive thinkings about s2 Shen Yi so i must holler about them/him some more, feel free to stop reading if you have not watched through approximately episode 11 which is where i still am. it's taking me longer to watch because i keep pausing to rewind/screenshot and/or weep in anguish about Him and What He Is Going Through. and how NO ONE IS PAYING ATTENTION. or insufficient attention. cf. Ryan Gosling in the Papyrus sketch screaming WELL IT WASN'T!! ENOUGH!!

[more. much more. behind the cut]

let's start here, with shen yi's artwork. in this scene he competed with AI to paint a chosen image and, surprising exactly no one, he won, partly because he's brilliant but tbh mostly because AI art is garbage and always adds dolphins, rainbows, and hands with six fingers.

but here's the thing: is no one going to question this? does anyone think to themselves "ah yes, shen yi is absolutely the BEST person in the world to make a painting in 30 minutes that depicts, quote, a lonely man on a beach." so here is this miserably hunched, despairing figure, surrounded by murky howling early-picasso blue, LOOKING IN FACT QUITE A LOT LIKE SHEN YI HIMSELF—even dressed like him (in the snowy white and dainty pastels he seems to favor this season)—and not a single person thinks: huh, wonder if this guy's okay?

in fact s2 seems to be repeated evidence of the fact that shen yi is Very Much Not Okay, and yet no one is really paying attention. he supports everyone else emotionally and they all seem to assume he either a) has no emotional blowback to deal with, or b) can deal with it himself unaided somehow. (through painting, maybe? but have you seen what he's painting lately? e.g. monstrous abusive parent figures, in some kind of breathless fugue state during which he can psychically hear lines from someone else's traumatic childhood?) he goes to li han's house to help her, which is so like him, and he says:

oh! you might think. well, maybe he will self-disclose a little? tell li han about some of his own personal difficulties that he's had to overcome, just to bond with her, get her to open up? HAHAHA ARE YOU NEW HERE, of course he doesn't, he just listens to her while she sobs out her tragic backstory, gives her a tissue, relates her struggles to a vaguely terrifying metaphor of his own device about a sealed room filling up ineluctably with floodwater, then smiles and takes her out for pizza. (totally unrelated but wow the product placement is heavy-handed this season. xiaomi! pizza hut!)

since we're talking about the li han case, consider this moment, too, when he interprets someone's house-person-tree drawing. does no one ever think, "for someone who talks constantly about love and connection, how interesting that shen yi has no family, refuses to date in very pointed and deliberate way, and lives alone with a cat."

shen yi knows all about love! never shuts up about love! constantly dispensing bromides about what real love should be like! and wakes every day ALONE from horrific guilty nightmares ft. creepy small girl in blood-red dress, pls will no one help this man pls he's drowning.

couple more bits and then i swear to god i'll shut up i'm starting to feel really stupid. but first consider this little story, in three parts:

"an image of despair" um okay well…technically it's just a dead body, albeit after a fairly grisly stabbing, but sure go off i guess

2. du cheng: wow even for you that was unusually poetic and weird

3. also du cheng: back to investigating the murder i guess [wanders away]

this kind of thing happens again. and again. either no one notices assorted horrified/devastated expressions on shen yi's face (in the way of classic extradiegetic reaction shots, where the camera sees them—we see them—but none of the characters onscreen do) or, when du cheng does notice, he's immediately distracted by his actual job, and/or the fact that he doesn't really know how to help his partner, because lbr he has all the emotional intelligence of a pony.

one more mini-story in three parts, and then i really will put a sock in it:

shen yi: why, what did i do. why are you looking at me like that

2. du cheng: bc you just lied your whole entire face off with alarming unsettling proficiency, since when are you that good at being dishonest

3. shen yi: hehe

in an earlier episode we also saw shen yi shouting at a suspect in the interrogation room, so convincingly that afterwards du cheng admits, you scared me. lol! says shen yi in carefree manner, i learned that from you! haha! agrees everyone, and they go about their business.

but ghastly things keep happening to and near him. at least once per episode, shen yi makes a face like this, because people are jumping off cliffs in front of him or abruptly smashing things with hammers or just lashing out with all kinds of antisocial behaviors in his vicinity:

to be fair, he has other expressions. for instance he also repeatedly employs his patented creepy ruthless smile, of the "i am going to fuck you up" variety, an expression reserved especially for criminals:

as well, i'm also leaving out all the ridiculously adorable/domestic scenes with him and du cheng, in which they share candy, roast each other about assorted nonsense, briefly co-parent a child, and, you know. are just generally disgustingly married. but that's a different meta.

also, admittedly du cheng does SAY things. he says, "are you still having trouble sleeping," he says "do i not care about you?" and "don't push yourself so hard" and "if you run into troubles, don't try to take them on alone." (i am sparing you all these screenshots since this is a meta about shen yi but trust me i have carefully accumulated every single shred of evidence in which du cheng is protective.) but, as frequently as du cheng expresses concern, he also just keeps clapping shen yi on the shoulder in a brotastic way and then strolling out. which i fear is just not going to be adequate. ("i don’t think this is literally papyrus. maybe that was the starting point but they clearly modified it?" "well whatever they did, IT WASN'T!! ENOUGH!!")

i leave you with two final images of shen yi, seen here continuing to be very much Not Okay, and to quote the bernie meme, i am ONCE AGAIN ASKING YOU, drama, is anyone going to care enough about this man to stop him going over the edge of the cliff with Evil Art Critic Eugenicist Moriarty Weasel Man? because he will, he will do it. because he's lonely and he's misunderstood and he's—

[cane comes out and drags me offstage]