#than him just being the hero and then nothing else

[puppetwoman17]

The Marvel family being more stable than any other superhero family is my bread and butter. Like you see all these other groups having various amounts of discourse. Arguments between hero and sidekick, family drama, dead family members coming back and hating everyone else(and no, that’s not exclusive to the bats, it actually happens a lot).

And then you have the Marvel family in the background, planning out their next trip to Disney World or whatever.

I kid you not, in Power of Shazam, Junior and Marvel did have a fight, and he did leave for like half of the series. So when they reunite you’d expect some bad blood and Freddy immediately leaving, right?

WRONG! Freddy takes the twins to the movies and tells them he has his license so he’s like “Hey, wanna go on a joyride?” And they’re like “YES!” And they just have the best time because Billy is Freddy’s little brother and he won’t let anything get in the way of their friendship. And him and Mary went right back to being sweet to each other, which, I’m not the biggest fan of their ship, but it was cute nonetheless.

You could add in Dudley and Tawny and it still wouldn’t budge. Adam’s like a fly on the wall. Adrianna and Amon are vibing with their new extended family and Billy’s side eying his magic-related brother because how did he bag ISIS?

And then there’s the Shazamily. With…literally nothing wrong. It’s just eight foster kids making a home. Add in Malik who is a very confused brother/cousin, and Tawny because he deserves to be here.

While everyone else is going through new trauma, the Shazamily/Marvel family are vibing on their magic train.

[arrowheadedbitch]

Overview of the things I've decided are canon for my son of zeus au so far (hopefully I don't forget any):

The gods are dicks. They arent *always* dicks, but I don't want to sugarcoat them from their original myths, they do bad shit and often

Denki is favored by Apollo, Dionysus, and Hermes the most, Persephone also likes him pretty well

Zeus is Zeus, meaning who knows when he'll decide he loves his son or hates his son or just genuinely doesn't care, he's such a little hypocrite bitch ain't he

Quirks are the exact same as they are in canon, the presence of the Greek gods didn't affect that at all, the gods have nothing to do with quirks and while they still are probably banging like rabbits they aren't really that active in Japan so no, no one else at UA is a demigod

Zeus slept with Kaminari's mom because he was intrigued by a mortal with a power in his domain (electricity) that didn't come from him

Since Kaminari's powers come from both his quirk and his dad, there's some complexities to them

Kamimari was born with lightning powers but they worked differently before his quirk actually manifested (I'm toying with the idea that his quirk manifested while being smiled by Zeus with lightning? I haven't decided if I like that or not yet)

Kaminari doesn't want other people knowing he's a demigod for classic hero story reasons but also because 1. Greek gods being real is a secret and he ain't about to be the one that spilled it 2. It'd be really complicated and annoying to explain and let's be real, at least one person would come out of that thinking he went crazy

Athena doesn't like him because, well, dunceface, duh. She does appreciate his strategic abilities though

Ares also doesn't like him because he doesn't like killing people, Ares and Athena hate that they dislike the same kid so much that they'd consider changing their tune about him on just that alone

In junior high he went on a big quest, I haven't decided on any details of it, but it involved a lot of fighting way to strong people while way too young as most quests do, this is also how he got into Apollo, Hermes, Dio, and Persephone's (and by extention Hades since he loves Persephone enough to deal with anyone she likes) good graces, the quest was likely given by Zeus and likely involved Hera trying to kill him

He's not really surrounded by people in the ancient greek community, it's not like he has a camp half blood and even if he did he'd skip it to go to UA training anyway, but he is pretty well known in those circles post big quest

I'm toying with the idea that he failed his first quest and thus had to go on a redemption quest

Kaminari doesn't like being serious, but despite what his classmates and teachers think, he CAN do serious, how else would he be such a big shot in the Greek community?

Imma be real, there was probably some kind of war that Kaminari had to lead an army in or something. I'm sorry, child soldier stories just have so many layers to dissect it's not my fault that they're compelling in a way

My point is, serious Kaminari is like war general levels serious, but not even LOA attacks are bad enough to bring out serious kaminari, are you kidding, did you gloss over the part about god war? He's having a little trouble taking literally any threat at UA seriously and he'll have trouble taking almost every threat as a pro hero seriously, it's not his fault junior high set the bar way too high on what situations are serious!

One of Kaminari's demigod powers, as the son of Zeus, is that he can't take fall damage. No matter how high up he falls from, he will never ever get worse than a few scrapes

Pissing him off really badly makes the sky get stormy, I'm talking immediate clear skies to nothing but gray clouds moving in and you can't even SEE the sky anymore, also possibly rain, he doesn't do it often but he can and he'd probably be able to control it if he were to practice his demigod powers along with his quirk but we all know he ain't gonna do that any time soon

He can sword fight, he hopes this never comes up

He has to keep reminding Dionysus about the legal drinking age, Dionysus thinks it's stupid and therefore never listens, they have argued about it multiple times

Apollo and Kaminari play chess together on occasion

Hermes at one point gave Kami a special knife when he decided he liked him enough to give him a gift, it's a magic thief's blade which is just a dagger that cannot be found on his person no matter what you do. Pat him down? You won't feel it. Scan him? It didn't show. Metal detector? It didn't beep at all. But he can pull it out whenever. He won't but he does *have* it just in case. I'm also deciding if making it not be able to leave him would be too much. I don't want it to feel like a riptide ripoff, I'm thinking maybe it sprouts wings and flies to him?

Yes, I've just decided, the Thief's Knife will fly to him if left behind and can squeeze into any crack no matter how small to get to him

I'm shinkami trash so you KNOW shinkami is about to be canon in this au

In either 2A or 3A, Kaminari tells Shinsou his secret about the gods being real and him being Zeus' son, he spends a great amount of time explaining all the details to Shin and answering his questions, it's a lot

What can I say? Shinsou is gus confidant, he was gonna have to tell him at some point 🤷🏻‍���️💅

He doesnt tell anyone else, but obv they've got to eventually find out somehow, what you think I'd just let it be lame?? Even after they find out, he won't tell them anything he doesn't have to, waits until it comes up to explain things, it's just too complicated he doesn't want to go through all that AGAIN and with twenty people this time

Oh and before you ask, I'm gonna say no on the flying thing. I know it could be a power of a Zeus kid, I know it could be cool, but no. No he cannot fly.

I can't think of anything else right now but I can't wait to wake up in a cold sweat tonight and realise what i forgot

Also, I'm gonna go ahead and tag @iys-cloud since I know iys really likes this au :]

[jasmine326]

I wrote a crappy little story but I wanted to share.

it's inspired by the comic linked universe by

Four had just returned home from a forging competition in Castletown, in which he was the youngest (and shortest) smith. He had won, of course, but not before every other smith had taken a shot at him and his skill. They could insult his age and his height all they wanted and he wouldn't really care, but doubt his talent and you're in for a fight. He would have fought them all too, but he would have been disqualified, and he wanted more than anything to see the looks on their faces when he won.

After the winners were announced, there actually was a fight. The judges were the first who were targeted. When the hero had stood between them and the assailants, he was the next object of their violence. He got off with a few nicks and bruises but nothing more than he really cared about. The same could not be said for the other fighters. He smirked at the thought of humiliating all those men, but the other smiths didn't take him seriously and he really couldn't expect them to either. Ever since he had laid the Four Sword to rest and Zelda had become a busy queen, he had had no one to talk to. The silence was nice at first, peaceful even, but it grew lonely pretty quickly.

He opened the door to his home and set his pack of tools on the floor by the door to his forge. He would have gone to put them all in their proper places on a normal day, instead he put ointment on his bruises. After rinsing off all the sweat from the hot sun with a nice bath, he went to his fireplace and lit a blaze with his fire rod. The flames reminded him of times when he was with those who understood him, who cared for him. Those nights around a campfire after days of dark blooded monsters were always welcomed by the nine heroes, it was a time to recover and unwind and form a new family to compensate for the ones they were taken from. Four had never had any siblings, being that he lost his parents at such a young age, so having the sailor to look after and the older heroes to look after himself was something new to him, but he never wanted to give it up. And just like that, he had to. He didn't know how long they were all together but it wasn't long enough. All the others had friends and family to go home to that would greet them with hugs and loving tackles upon their arrival. What did Four go home to? An empty forge, a quadripartite mind, and a never ending job to keep a roof over his head. Of course, the mind issue was mostly fixed when he gave up his sword. He would still argue with himself occasionally and he would find himself thinking out loud as though talking to someone else. The shelves mounted on the wall held many little trinkets and gizmos from his travels, one of which was his trusty old ocarina, that he hadn't played since that night around the fire that his questing brothers decided was a musical night. The night he realized that Warriors didn't know how an ocarina works, he remembered as he chuckled under his breath. He reached for the ceramic instrument and fumbled his fingers over the tones. There was a song that the old man had taught him and the sailor to play, a short tune that was repetitive and easy to remember. He played quietly and slowly at first, getting used to the rhythm, but eventually he stood confidently and played at the tempo he remembered. After a few verses, he was startled by a heavy drop of water hitting the roof, but he dismissed it and kept playing. The drop turned into drops and eventually a torrent. As the rain began to grow louder, Four ceased his melody and listened to the rain's own song. The downpour continued and he smiled as he eased into his chair by the fire. Just for the moment, it was no longer too quiet, and it was the best moment the lonely hero had had in a while.

[sora-fish]

Ruin turned back and gave him a small smile, almost trying to convince herself that this whole situation was fine. With a slightly teasing tone, she said “You think I can’t? I’ll be alright, thank you though. Plus, you need the extra hands if you want to protect us, right?” Ruin snickered, letting 15 walk in front of the two of them. Runner though looked to be slowly getting better, or at least more stable on his feet. His glance was basically just on 15 though, partially in confusion but mostly in a sort of admiration- the sort that he used to give heros that he really looked up too— but this time, it was more of a respect that 15 lived in the nightmare that being so dehumanized was. It made him feel not alone, at the very least.

Ruin stood nervously behind 15, looking back at the cafeteria and then at the door. As it slid open with the mechanism, the first thing seen was nothing close to human. It seemed more like a conglomerate of meat and viscera than anything else. The ceiling was covered in tendrils that dripped blood, staining the floor. Ruin looked like he wanted to run immediately- too leave, but looking to Runner— she decided not too. Ruin carefully followed 15 lead, trying to be silent so the monster that looked closer to meatloaf then it did an actual human didn’t hear them.

We could send 15 to someone else's world ..

ABSOLUTELY, I love being silly :33. I think something interesting would be placing 15 in SWTD!PDs world, cause that’s a WHOLE OTHER CAN of worms. Especially during the horrors!! And I get to describe said horrors which is always an honor :33. If you like that idea then lemme know and I’ll brew a silly goofy descriptor :33

[ninjagirlstar5]

In concept i do think Yamato is kinda of a funny character, he's this extravagant inventor dude and all that but when we see him for such little time and the game insists on telling me how awesome and cool he was and how everyone liked him it started getting on my nerves, you know? + I do agree that if we were shown more flaws of his character he would feel less bland than what we actually god, that one scene where he and Mikako argue because he doesn't wanna tell her that he knows the world is going to shit and so pushes her away to try protecting her which just leads to Mikako and him having a pretty bad argument honestly did wonders for the little character he has and if we had more time to see him being some guy instead of a cookie cutter hero type i think i wouldn't have this many gripes agaisnt him

FOR REAL, like...if you give a character flaws, it doesn't make them a bad character. It just makes them a lot more rounded and less egregious when they choose to do heroic deeds, despite their flaws and problems. It makes them a character that can make mistakes due to their flaws but still try to do the right thing. It makes them human in a way that we can understand and even respect when they try their best. I like Yamato as a concept but in practice, he kinda just...exists. Which is a shame because I can see the potential in his character and then it drives me nuts when I don't see him be written in a way that's satisfying. To me, at least. It doesn't help that the writing kinda builds him up when he's just the "hero" character that has no visible flaws unless you really try to dig between the lines and even then, you kinda have to do the writing yourself without propping him up like, "He's the Chosen One(TM), you HAVE to like him" kind of nonsense. And my God, if I have to do it myself, I will.

I've only been here for, like, a year and a half? In this fandom. But when people talk about him being the GOAT, I just go, "I mean, I guess he's pretty heroic. But that's about it." I do like what we got of him, and I appreciate that he's there...but also he's just there. You know? I need a little more substance if I'm gonna put him any higher on a tierlist beyond just the "fanon is better" tier.

[javierduffy]

would we like to talk about how hosea also contributed to arthur’s entrapment in and eventual demise due to the van der linde gang because he was constantly affirming to arthur that he was “dim-witted” and “a fool”, and we can assume he’s been doing as such since arthur was very young, and therein causing arthur to internalize the narrative that he is nothing but a dumb brute who could never make it as anything other than a “born and bred” killer or is that too controversial

[dw-flagler]

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

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

"MHA has better characters,"

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

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

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

"a better plot,"

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

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

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

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

"better worldbuilding,"

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

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

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

"stronger themes,"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

No, the Villains don't get happy endings,

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

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

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

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

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

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

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

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

[toddtakefive]

thinking about todd and his resolve toward… not quite isolation, but being alone in a room full of people again. he goes along to the study room to sit on his own and do his homework, he sits at the poets table and follows along with what’s being said while keeping quiet, he goes to the meetings at all but doesn’t necessarily contribute (in fact, if you watch him when cameron is telling the story ‘from camp in sixth grade’, you can see that he recognizes it before any of the other poets but doesn’t voice it until they all have). he’s not alone, necessarily, if you want to get technical about it, he’s just lonely, and he’s generally okay with that. he doesn’t have friends and that’s fine, he doesn’t participate in class and that’s fine, he doesn’t have a relationship with his family and that’s fine—he could live without any real connection and he’d have been, more or less, fine.

the thing about when he says “i can take care of myself just fine!” is that he isn’t really wrong, you can infer that he’s been doing it his entire life anyway, it’s that ‘taking care of yourself’ isn’t the same thing as really living or being happy. todd’s an introvert, certainly, and even as he gets closer to the group he defaults to sitting quietly in the background, but he’s also denying himself community out of fear not introversion. todd isn’t friendless because he’s an introvert, although that definitely plays a part, he’s friendless because he pushes anyone that might want his company away. if anyone has every wanted for his attention in the first place. (neil’s unwavering interest in him is unique (even when it comes to the rest of the poets, who are fine with todd coming along and joining the group, but aren’t really hellbent on him being there in the beginning) and his refusal to accept it is a direct result of being so lonely growing up.)

there’s obviously something to be said about the implications of his parents neglect, and the more than likely fact that he grew up friendless, and how those both play a part in in him being so skilled at dodging social interaction/being so avoidant of it, but by the time we see him in the movie he’s all but accepted his fate as being alone his entire life. he’s already accepted being the family disappointment, and he’s already accepted he’ll never amount to anything, and he obviously doesn’t like it, but he’d have managed living with that knowledge without the confirmation that it was all wrong. would he have been miserable? almost certainly. but he’d have managed. he’d done it for that long already, anyhow.

[ccbatman]

actually so evil how much of hal's internal world gets obliterated with the rewriting of his relationships with jessica and martin.

[redysetdare]

You guys don't understand I cannot watch s4 of lmk because if I have to sit through the story acting like Macaque is all fine and dandy and redeemed while it and the fandom actively demonizes wukong i will fucking lose it.

[doctorweebmd]

coming out of my baldurs gate 3 delirium (aka i am working a night shift and can't physically play it. at work.) to say that horikoshi. horikoshi when i GET YOU. you are NOT leaving izuku with no quirk and no arms. i am in your walls

[lanayrutower]

i'm about to throw hands with this yt poll.

this is the zelda version of that twitter butch post to me.

[abimee]

every day i gotta remake that ryder drawing. i love men who die with no resolution <3

[dutybcrne]

Okay Sc.arveh has been replaced in my mind as resident silly crack crossover ship potential of clashing personalities.

Ly.cae is now my new best friend

[littlediscoveredstars]

Headcanon that Jim Gordon used to think Dick’s real name was just Robin. It’s not an unusual name honestly, and there’s nothing particularly bird about his outfit, so Gordon thought nothing more about it when they first met.

Gordon: “Uh, kid, this is a crime scene-“

Dick, hands on his hips (and no pants):“My name is Robin!”

Gordon catches Batman’s frown and assumes it’s because Robin isn’t being careful enough about his name.

But time goes on and no one finds out where the kid lives, so Gordon lets it slide. He’s a cute kid, if a little intense, but it’s fun to watch him grow up with Barbara (yes, he knows about batgirl. Yes, he chewed Batman out for it but decided to ultimately ignore it like everything else).

But then a new Robin comes in. This is a kid again, not a full adult like he was a year ago.

Gordon: “Hey, Batman? What happened to Robin?”

Batman: “This is Robin.” He sounds so unbothered, like he doesn’t realize this is a completely different kid!

Gordon’s concern for this half-mad vigilante skyrockets. Batman has convinced himself that this kid is the same as the first. He’s going through it and the mental gymnastics are more than Gordon can take.

So, he lets it go.

But then that Robin disappears and Batman’s acting up. Nightwing shows up a few times and it never really helps things. Gordon’s getting more headaches than smoke breaks and at this point, he’s really to pull the plug on this whole bat business.

But then Robin comes back again and Gordon’s has it. He confronts this kid, fully prepared to push through whatever gaslighting’s been happening, only for Tim to look at him like he’s stupid.

Gordon: “Kid, who are you really? Because the Robin I met graduated collage years ago and the one after that is dead!”

Tim, with the most judge mental look physically possible: “Commissioner…Robin’s my hero name.”

Gordon: “…Your hero name?”

Tim: “Yeah. I’m Robin, like the bird. Batman and Robin. Heroes. Why would I go around using my real name? That would be stupid and dangerous.”

And Gordon has to call off for the rest of the day, he’s so pissed.

[selfoe]

the therapy scene (if you let ortega convince you to go) for shepherd never fails to make me lose my mind completely