#that makes sense why is this news to me

[hinamie]

congrats on your recovery n all yuuji but unfortunately for you I thought the scars were cool >:/

[ameliadoesstuff]

something about s1-3 zane is just. oh this guy is so silly and friend-shaped. look at his friendly boy swag. like????? how could you ever hate him. the ultimate silly

not to hate on his titanium era because frankly it is very cool. but the essence of s1-3 zane is unique and uncapturable. he is just a little guy you can put in your pocket. his default facial expression is so inherently funny. there are no thoughts behind these eyes. i would trust him with my life.

[mangomybeloved]

i hate to say it, like i love watcher, but my thoughts on them leaving youtube is this is too much too soon, like the bulk of their fans are probs younger/unable to afford another subscription fee, plus youtube has always been where they've been?? it's just so stark to go from this being the site you put your content on for years and then to go full cold turkey, no more posting on youtube ever

and i'll be honest, they don't have enough content to warrant a separate site/subscription all together. dropout is able to pull it off because they have the full rotation of shows and cast as well (dnd, game changer, etc), whereas for watcher, they only have a few couple really successful shows and those are primarily only focused on ryan and shane.

and tbh, i don't think they have a big enough audience to launch it either, like their marketing team could do better on advertising their shows! like, i haven't been keeping up with their recent shows cause either i don't see it on my youtube algorithm at all or i have to go out of my way to go see it.

and i don't know this just feels like a kick to the face to their fans, like even dropout has shorts on youtube and keeps up all their content on youtube like some episodes and the entirety of season one of fantasy high, and now i'm seeing in the comments, that their international fans outside of the usa won't even able to subscribe cause of how payment works which is :///, so yeah, watcher, it's been nice knowing ya, but i don't know how this move will turn out for you, i'm sorry to say

[anemonet]

this bad boy can fit so much sick symbolisms

[literaryspinster]

I hear a lot of talk about how Hollywood isn't comfortable with showing romantic relationships, interracial or otherwise, without a white person involved. But I'm not sure that fans are actually comfortable with that either? And I don't think they're comfortable without a significant white (white male specifically) presence in their favorite genre shows.

[hiphopcherrrypop]

save me bottle blond bass player

[silverskye13]

The Best Seat in the House

Summoning Helsknight is easy. Their souls are so inextricably tangled, they are nearly the same person. It's terrifying. It's exhilarating. Its

Welsknight is flying through the end. He has the coordinates to his destination memorized, like a lodestone in his heart. There is something about a person's blood sweeping so deep into the ground that makes the connection almost physical, like a thread pulling. He thinks this must be what sends doves and pigeons home. Why salmon swim upstream. There's something about blood

It's mutual, this dance. Hatred and disgust and thrill. It's beyond words, somewhere deeper, in the roots of teeth and the marrow of bones. Inextricably tied, souls and blood.

Helsknight is the perfect knight.

Tenets. Poise. Form. Kit.

Bloodlust.

Helsknight is the perfect knight.

They don't talk anymore. They don't need to. Words fail. Words circle and circle and circle and go nowhere.

It reads our thoughts.

Helsknight isn't waiting for him when he lands, but Welsknight can feel him on the other side of everything, like an itch beneath his skin. Like if he just found the right place, the source, where the itch is the most intense and bothersome, he could set a blade to his skin and dig Helsknight out.

In a way, that's what he's doing.

And yet they play the game.

By the time Welsknight has folded his elytra and put on his breastplate, Helsknight is there. The itch in his skin is crawling across the surface, spider legs and teeth; a brand, a flaying. He turns to face his other half.

Helsknight is a perfect knight. He's a fortress, a wall, and he's right there with a sword in his hand. Welsknight's strongest images of him are of blazing eyes in the depths of a blackened helm, all netherite and embers. Maybe it's hels that scours him black, the baking heat and unending fire. Maybe it's just that he's standing by Wels, and Wels is light and life and brilliance and

Welsknight is not a perfect knight. If he were, Helsknight wouldn't exist.

And the universe said the darkness you face is within you

There is something brutally honest about a battle like this, here, bared for the void, and the universe. A person can lie with words, but swords, like angels, can only speak the truth. In the face of death, they can only be who they are.

Helsknight is death and terror. He must be, because that is what Welsknight feels every time they meet.

One step, two, a mirrored circle across the end stone. There is no dust here to kick up, no gravel to throw. This island in particular is stark and flat. No upper hand, no useful terrain. Three steps, four, swords in hands. No shields, only armor, and the places it fails. Welsknight's breaths are long and loud and reverberate in his helm, wash back across his face with heat and condensation.

Helsknight is sparks and smoke and perfect form. The red plume in his helm sometimes sparks with the glimmer of his eyes. There is no moon in the End, and Helsknight's fire is an island of firelight in starry black.

Silence draws out between them like a blade.

Five steps

Six

And the universe said

Helsknight springs first, because he always does. Welsknight can feel his impatience like goosebumps, a phantom thrill of expectation. Welsknight meets him, because to be too far to one side is to be too close to the End. The ringing clash and slithering screech of metal on metal is like lightning and thunder in the perfect silence. They test each other, feints and parries.

Helsknight is impatient, and Welsknight shudders with it. He is always impatient. It's a thirst for blood, and a thirst for efficiency, and pride in the decisiveness of his hand. Helsknight would kill him gladly in one stroke if he could. His is not the joy of suffering, but the joy of superiority.

And yet they play the game

They break apart. Welsknight needs time to recover and reassess. Neither of them is wounded, but Helsknight is powerful and sure, and Welsknight's wrist stings, and his elbow twinges. Too many solid strikes caught instead of deflected. Too many tests done wrong. Mistakes. Too many mistakes.

Helsknight is humoring him. There is derision in the air like the scorn of distant thunder. It makes Welsknight mean, feeling it passing over. If Helsknight wanted, he could press his advantage until Welsknight was off the edge of the world. Welsknight can feel his other half's sense of superiority. It stokes the embers of Welsknight's own pride. He wants to rip the smugness out of Helsknight with his bare hands, bloodied to the elbow.

The red in Helsknight's eyes glimmer, a dare, an invitation. Come and try, he says, come and try. He says it with every line in his body, with the way he holds the point of his sword just a little too far out, a Fool's Guard. An invitation to where the plates of his armor gap at his armpit, reticulate near his waist. An invitation in the tilt of his head, slightly upwards, to look down. Slightly upwards, where the gorget and the helmet separate to show a hint of vulnerability.

Helsknight is a fortress.

And yet they play

One step, two, circling. Swords pointing and guarding. Three steps, four, Welsknight only knows he's caught his breath, because the heat of it is rolling across his face again. His hair is sticky with sweat, and threatens to thread into his eyes. Five steps. Helsknight blinks slowly, boredly. The bloody red light of his eyes winks out and returns. Six steps.

Welsknight attacks first this time. It's a lunge he knows will miss, but he sweeps the blade up anyway and feels the clamor of disrupted momentum as he's deflected away. Helsknight bursts forward a fist and punches Welsknight hard in the center of his breastplate. It kicks away some of his air, surprises him, surprises him again when that same hand snaps up to grab his gorget and pull, threatening to drag Welsknight off his feet. Helsknight's knee comes up and Welsknight catches it, throwing his shoulder into Helsknight's stomach.

They fall hard on the stone.

And yet they

It's tangling limbs, and wrestling, and that little bit of air Welsknight lost is felt, because he can't catch his breath. They're both on top of and below each other. The horizon is yellow and black and stars and stone, twisting. Swords are useless this close, but they grip them desperately anyway, because to lose a weapon is to lose the fight.

Helsknight is the first one who manages to get to his feet. He is a dark tower rising, the kind of thing that eclipses and imprisons. Welsknight can taste blood in his mouth from Helsknight's elbow ringing hard against his helm. His vision is a spattering of stars and colors that aren't supposed to exist.

Helsknight waits, impatient and seething, for Welsknight to get back to his feet. Sometimes, Welsknight wishes the flower of chivalry wasn't so good at reducing him to a pile of steel and guts. He might bring himself to respect it, if it didn't.

Welsknight is tired. He can't catch his breath. His vision still tilts slightly.

Helsknight is a dark tower risen.

Take a breath now.

Helsknight springs. When his sword lands on Welsknight's, it sends lightning through every nerve. Welsknight retreats a step.

Take another.

Another. Another. Metal on metal. Welsknight's only thought as he parries and steps backwards, is that he continue to circle.

I will tell the player a story.

Helsknight's satisfaction is cloying. It fills Welsknight's mouth with a taste like vinegar and rot. Welsknight's guard breaks. He can see his mistake and do nothing about it. Helsknight's sword shivers and rings as it rebounds off his chest plate and plants its tip in Welsknight's armpit, where the plates in his armor gap. The wound isn't deep. It dips in and out of his skin so quick and seamless, Welsknight feels the trickle of blood long before he feels pain.

It contains the truth safely, in a cage of words.

Helsknight's two-handed stroke steals Welsknight's sword from his hands. Welsknight leaps the next sword strike, rolls, and gets a cut on his ankle for his trouble. Standing is a labor.

He still can't catch his breath.

Helsknight's blade has so little blood on it, only the handspan at its tip glitters darkly. Why, then, does Welsknight feel so shaky. Dread of the inevitable prickles his spine, and chasing it like a hound is Helsknight's vindication. I knew I was better, I am always better.

Why do we even play these games?

Sometimes the player dreamed it was lost in a story

Helsknight waits for Welsknight to pick up his sword. He is a shark circling, mad for a few drops of blood. Welsknight stands in the center of the island and waits, turning, for Helsknight to spiral towards him. They are a disaster, a collision course, gravity pulling. They are the inevitable, and their blood pulls them to each other just as much as thought and wit and loathing.

A lodestone in their souls.

Helsknight springs.

And yet they play the game

Welsknight gets a single lucky strike. His sword tears between two of Helsknight's plates, and he feels the soft resistance of flesh against his blade. It's low on Helsknight's hip, painful, but far from deadly. Helsknight proves it by slamming the pommel of his sword into Welsknight's faceplate. If it weren't for the nose guard, his nose would be broken. His eyes still phosphor from the hit, a world of infinite, blinding stars. His feet are kicked out from underneath him.

And the player started to breathe faster and deeper, and it realized it was alive

Welsknight reaches for his dropped sword again. Helsknight doesn't back away from him this time. Welsknight deflects the stab that would have killed him, swings the pommel of his sword against Helsknight's knee.

You. You.

Helsknight drops, a hand on his battered joint. Then he lunges, and they are wrestling again. Blood from Helsknight's wound spatters Welsknight, makes one of his hands slick. He holds his sword in both hands and uses it as a staff, trying to ward away Helsknight's blade locked against it. With the force of his shoving, and the weight of him bearing down, Welsknight's arms are giving.

You. You.

His arms are giving. The crossed blades are too close to his neck. He kicks. He grunts.

Helsknight is a dark tower, the kind that eclipses vision. His eyes are red stars in the dark, distant and bloody.

You are alive.

One of Welsknight's arms collapse. His brief hope this might pitch Helsknight off-balance flickers out before it can really settle.

Helsknight is a perfect knight. Tenets. Poise. Form. Kit. Bloodlust. Bloodlust. Bloodlust. Welsknight can feel it like a wound on his skin. Like blood in his eyes. Like iron on his tongue. Like a netherite blade so close to his neck he can't catch his breath.

I want to help them speak the word they fear.

Helsknight kept his blades sharp. It probably had something to do with perfection. In the moment before blade touches skin, Welsknight searches his other half. He finds what he expects to see.

Disgust at what is happening, and blood and pain and struggle. Resentment at being brought here only for this one thing, for this spiral to an end. Vindication of his skills, pride in his efficiency, disdain for Welsknight's clumsiness.

Welsknight does not find what he expects, as well.

He does not find remorse.

He does not find guilt.

He finds only a subtle annoyance where those things should be, disdain that Welsknight bothers to search at all.

Welsknight smirks. He doesn't need the reminder that his other half is evil, but it is nice to know, even if he's lost, he's still right.

The days were short; there was much to do; and death was a temporary inconvenience.

Helsknight is alone on an island in the end. He is surrounded by the remains of Welsknight's gear, and the spattering of his own blood against the end stone. Whenever Welsknight dies, when they fight here at the end of the world, with nothing to distract each other from each other, it feels like Helsknight has woken up for the first time in a long time. The smothering thoughts, emotions, intensities of his Hermit lift and dissipate, and it feels like he has finally caught his breath for the first time in years.

Helsknight sits on his knees on the stone until his joints ache, and his hip burns, and his leggings are a mess of blood, and he breathes. Long, deep, like cold water in a desert.

Finally, he stands. It takes effort. He has to use his sword as a crutch. But he stands. He looks out at the nothingness, at the end, at the jaws of the universe in every direction.

And the game was over and the player woke up from the dream.

Helsknight snorts derisively.

"I would rather sleep," he says.

He vanishes back to hels.

[hellogoodbyeitsme]

I think after the events of tim drake: robin the marina should just assume that [Bern's nonchalance toward finding out Robin and Tim were possibly sleeping together on the DL] is because they're actually a thrupple, and they're all just like oh that's nice actually 3 nice boys taking care of each other, how sweet :)

[wisted-twonderland]

aware

[medicalunprofessional]

and i didnt even know it?

[muchmossymess]

uh oh guys, hot take alert:

i think revali may have invented hand held aerial archery HEAR ME OUT- (this is a long one boys)

okay. evidence one: why the fuck would a rito shoot like that. like, it makes nearly zero sense, it would be such a hindrance to their flight and their main stake is that they can be higher than you can shoot whilst still pinging you... which revali has overcome with his gale

evidence two: tulin and the concept arts. obviously rito style archery would be held in their talons. before totk came out idk if anyone had really thought about it too much, but the developers had, as you can see in concept art (from the creating a champion book). and like, its logical, powerful, and allows for peak maneuverability. also, when in flight revali (and teba) holds his bow in his talons before switching to his wings. surely its easier to keep it in your wing (obvi ignoring the effects to flight but hes doing that anyway firing the damn thing) rather than switch back and forth- unless you were taught that way, because why would you hold it elsewhere, you need it in your talons to shoot.

evidence three: we dont see any other rito do it (...kind of). throughout botw and totk, we never see another rito flying with a bow in their hands. in totk, its mostly tulin, who holds it in his talons, but in botw the big one is teba. during the medoh quest, he actually gives *link* his bow, and therefore does no shooting in the sky. teba and harth had both tried to take on medoh before, but we never see this, and while they holds their bows in their hands *on the ground,* we dont see it.

...except for aoc (uh, spoilers?). there are two times we see a rito other than revali hold their bow in their hand for aerial archery. but it is not with any rito soldiers, either during cutscenes (the bows are only on their backs) or gameplay (they swoop down, and then hand hold bows on ground. they arent seen flying at all but thats prolly for the same reasons as botw: its very hard to code that (and so they write the lore around that fact)). the first time we actually see another rito do this, we dont see it. Its teba, as he comes thru the portal, but all we see is the arrow shot, and then him freeze frame with the bow in one wing. we dont see the bow in his hand for the rest of the fight. the second time we actually see him fighting like this, it *is* in the air, but its noticeably different to revali.

hes a lot slower, it clearly takes a LOT more effort to shoot the bow, and he only pulls off one arrow at a time. its canon that revalis bow is heavier/harder to draw, and he manages to effortlessly stream arrows whilst fucking floating midair. i think teba, forever a revali fanboy, heard of how the champion mastered his own style of archery and sought to teach himself, but lacked one key thing: revalis mastery of wind.

evidence three point five: revali could easily use his powers to hold him in the air longer/slow his descent long enough for him to fire his shots. it makes sense, really. if he can use his gale to propel him, he can sit on the updraft for a hot sec, or even curve the path to carry him along while he lines up the shot. this would mean he wouldnt need to flap as much as other rito, who would obviously need to keep flying

evidence four: revalis fighting style and his needs. revali works with non rito, obviously. he needs to be able to communicate with them on the battlefield, and they wont understand the muffled chirps if he holds his string in his beak, so he needs his mouth free to speak hylian. also, revalis main tactic is fly up with gale, shoot, fall, either shoot more or use velocity and weight to knock around opponents, and then fly back up. he often needs both feet planted firmly on the ground to get a good hold of his gale, something that is harder to do if you have a bow in the way.

also, take for example the kick he delivers link in their fight (aoc). that would possibly damage the bow, or give the opponent a chance to grab his weapon, if he held it in his talons. and to switch from feet to back is a risky maneuver during freefall, and could lose precious seconds, and then when you get back in the air you need to get it off your back again. its much easier to keep the bow loosely in your wing the whole time, meaning your free to attack melee, land and rise all while not wasting a single moment getting your next shot lined up.

so yeah, i think the rito used the talon grip for aerial archery, and would often use the hand held method on the ground for a variety of reasons (more powerful shots?, easier in some situations like hunting), but revali was perhaps the first to use hand held aerial, another reason he was one of the greatest archers ever.

[sukibenders]

One of my gripes with the pjo show was, ultimately, the portrayal of the gods. Like, when I just think of them I imagine powerhouses, persona and all. Heck, even if they are chill and laid back as a cover, around a certain point you'd even notice their aura for power. But, in the show....I don't really get that vibe. Like Ares letting the kids talk back and all that, when he was quick to check him the books or how the mere presence of Hades had the trio on edge. Heck, Percy got flack from Zeus for failing to address him first, so how would he just be fine with letting Percy run his mouth like that, no matter how right he was? And I'm not saying that it had to be just like the books, but it doesn't seem that hard to make these gods intimidating.

[triple-pupil]

WHAT DO YOU MEAN THERE'S A NEW VOLUME OF CUPHEAD COMICS??????

AND IT HAS DICE AND THE DEVIL IN THE SAME FRAME????????????????

[mishy-mashy]

Kudo is actually such a kind, soft-hearted guy that had to toughen up because he cared too much

He looked at AFO's rule, and even though he was weak, he had that glint in his eye that has been referred to as the "will of a hero" to oppose him. A hopeful glint shared with Midoriya, Bakugo, and Hawks

He even parallels Hawks when they talk about that particular look in their eye

From a glimmer in the eye, to which eye is shown, how much of the face, a similar angle of the face, and placement of text questioning the existence of that light,

He stormed to kill Yoichi with Bruce, but couldn't, once he saw the state Yoichi was in. Even knowing he was the enemy, he still reached out his hand and never let go, even when they were running

When Yoichi died, even though they'd only been together for two months, Kudo still cried and froze up.

This is a reaction from a man who repeatedly used lives as a stepping stone for his own goal.

Kudo said himself, that victory was life, and defeat was death. He had killed and seen his friends killed over and over, but still cries when it happens again. And to someone he only knew for two months, at that.

Kudo gathered allies under his cause, and they were loyal enough to die for him. Bruce cries (still smiling tho) facing AFO, tried protecting Kudo when he froze up at Yoichi's death, and we see all Kudo's comrades dead in the end. Maybe Bruce was suicidal when he went to face AFO, knowing he'd die, but most of his comrades (and Kudo) were already gone. Their cause was snuffed out, but the will persisted.

Kudo is a bit like Aizawa.

A bit crass and blunt, doesn't like beating around the bush, but he can clearly see what kind of person you are. He's not openly kind, but you know he cares so much, but has also lost too much once. He's seen his friend(s) die, and shouldn't it have been him in that spot? Shouldn't he have died instead, but was forced to continue living for that dead person's sake?

His speech about why we call Abilities "Quirks", recognizing people's intent over raw power is the real power. (Ch 369)

He's blunt and goes straight to the results rather than beat around the bush, but it doesn't mean his heart is frozen and he doesn't care about you. (Ch 408)

He cares so much, and that's why he has to do so much. (His whole Resistance thing, figuring out how Yoichi's Factor works to make sure Yoichi and his will can live on in some way)

He recognizes that Midoriya isn't driven by duty, but that he genuinely adores Quirks too much. (Ch 414) He could look at Midoriya, read that immediately, and even though he looked through his memories, Midoriya's character was his takeaway. Not that Midoriya is an idiot for letting himself be stepped on, or that this kid was bullied, but that Midoriya could see the goodness in others.

Like how Aizawa saw that Midoriya was relying on the reason [It can't be helped] whenever OFA broke his bones and told him he can't always break himself just because he could be fixed (Midoriya's recklessness that showed itself on the first day of school). He called out something that was an underlying, innate belief to Midoriya, that was so normal to the teen, and no one else had brought up as wrong to him.

The first thing they perceive is a person's character.

When Aizawa tied up Midoriya on the first day of school, he wasn't telling him off over his Quirk destroying him being a PR thing or too gruesome for the public. It was out of the fact that his Quirk shouldn't destroy him, because it's dangerous for Midoriya.

Aizawa came off antagonistic, but he was looking out for Midoriya. He didn't want him to keep breaking his whole arm, he didn't want him to get stuck in the mindset that he had to get hurt to use his Quirk, he was looking out for his wellbeing from the start. A kid he didn't know personally until that day.

Kudo did a similar thing. He turned his back, and refused to help, because they were putting their hopes in a delusional boy who would go too far. When the vestiges realized their gathered Abilities and Quirks were letting Midoriya have the freedom to do as he wished, Kudo already knew, only saying "His path is the right one". He could relate to having to run full-sprint to see your goal realized, even if everything opposed him, but didn't want Midoriya to go through that same path alone.

If he were alone, he'd be like Nagant. He had to have comrades to be like Kudo, able to continue and stand for their beliefs, but having comrades to fall back on, or pull him back when it's too much. That's why he follows up in that moment with, "But, if there's something Midoriya does need..."

Kudo and Aizawa could see themselves or their comrades in others, and knew how to approach those character flaws that were normalized to others and said person.

Kudo could see others for who they were, and I think it's this, and his caring nature, that he gathered so many allies with him. He knew when to be blunt, when to show kindness, that the truth hurts but needs to be seen, was actually very logical and witty, and when to step aside and let people do their thing, even if it wasn't the best move (like saving All Might). Because that was what was best for that person.

It's not like people would join someone so wholeheartedly without conviction and being left unseen by that person. So many people were willing to die with and for Kudo, and Bruce believes in him so much.

When All Might's vestige was fading and becoming more solid, Kudo had to look away. They knew it meant All Might was dying in the real world.

Kudo was telling Midoriya not to intervene with Gearshift there. But once he saw All Might genuinely dying out, he couldn't look at him, and kept quiet. He stopped hanging onto battlefield logic of necessity, shut up, let Midoriya do his thing, and it saved All Might. It saved Midoriya from seeing his idol die in front of him, and Kudo didn't have to see another ally die beside him.

The chapter is literally called [We Love You All Might!!]. Even if it's just meant to focus in Bakugo and Midoriya, and only has 2 exclamation marks, it can't discount the world is watching. The vestiges care about All Might too.

When the vestiges come up with the plan to forcibly transfer themselves to deal damage, Kudo volunteers himself as the test dummy. Sure, he backs it with a lot of reason too, but he didn't want anyone else to go first as a test drive

He, with a Gearshift Ability that resembled a manual car, was the test drive. Ha ha pun- *gets shot*

En tried going first. Kudo rejected him, saying he would go first.

"Part ways with Gearshift [me], and you'll be free of the crippling recoil too."

Too. TOO.

KUDO JUST WANTED TO GO AND BE DESTROYED FIRST. HE PUT THE FREEDOM OF RECOIL DOWN AS AN EXTRA BONUS SO THEY'D AGREE WITH HIS CHOICE.

I'd cut the image so it looks better, and I can use Bruce's words elsewhere, but this is an image limit, so,

- Kudo refused to let anyone else go first. This was before giving reasons to convince them he should leave first

- En gives reason to why it can't be Kudo. Kudo just says, "Listen." and reminds them of now.

- Look at Kudo's face when he says that. The guy knows what he's doing when he cuts off En, and would probably be a horrible liar. He might as well be pulling this out of his ass.

He's said "The world will end" "You have to or else" "Five minutes" "You're going to die" a few times in this fight already. DUDE STOPPP

(Terrible liar and a guy who purposely eggs you to torment? What a great friend he would be [yknow, when u make ur friends freak out by being ominous or reminding them of stuff. Like Toast to Lilypichu in a game of Observation Duty])

- "Too."

- Bruce's trust in him, but knowing when to pull Kudo back from going too far

Also, when he's transferred, he smiles to Midoriya. He knows he's about to die again, but the last thing he does for Midoriya is

1) Take away the recoil of his existence as a Factor on the boy

2) Reassure him that it's okay, so it doesn't weigh on his conscience

Even if only in thought, STILL!

KUDO LOOKED SO PROUD OF MIDORIYA!

I bet Kudo is suuuch a sentimental fool

> [Be me and watch your new friend die]

> [I have Yoichi's Factor]

> [It's like I carry his will now]

> [Have a glint of opposition in my eye that drives the Demon Lord and my comrades (Bruce) crazy]

> [Hey Bruce, let's figure out how it transfers]

> [Bruce's common sense VS my rabid ideas]

> [I win]

> [Bruce was unwilling the whole time and still ends up with the Factor]

> [The Factor is named One For All, after something in Yoichi's favorite comic book series]

> [We pass it on to the future to carry forward]

> [Even as everyone else and me dies, I make sure Yoichi and his will are safe from his Demon Lord brother that locked him up]

> [Decades later, my sweet vaulted friend reminds me of when we met]

> [I turn around and give my whole-hearted support to believe in some 15-year old boy because Yoichi believes in him too]

SEN - TIM - ENT - AL!

When Shinomori was stolen by AFO, Shinomori pushed everyone away before they could really notice the invader. Kudo called out for him.

Everyone is in shock, but I don't think it's a mistake that the text bubble calling out for Shinomori is pointing from Kudo.

All For One made it through and is ready to steal them, but the first thing Kudo did was call out for the one at the very front.

[On the post I made that mentions Shinomori pushing everyone away] What if Kudo wasn't pushed away? What if this was him at the front, realizing the danger and turning around, but being unable to do anything for Shinomori when he saw?

Like Bruce, Kudo communicates. He doesn't expect you to just follow or understand him. He actually lays it out and makes sure you keep up.

He explains

- the transfer of vestiges, and why he should go first

- his Quirk

- why Quirks are Quirks

- reports to Midoriya what's happening and what's next

- to Yoichi why they couldn't trust in a delusional boy. In a way that wasn't Bruce's roundabout "we lived in a terrible era and a leader gathered us"

When En panics, he barks at En to keep up. By barking at him, rather than any other way he could've used his tone, it shuts up En in his frantic babbling. Kudo also lets Vestige Might put in his thoughts to understand better, and uses it.

Eye reflection. Kudo can really see people for who they are, and understands others, and himself.

I can't repeat the pics cuz image limit, but look at previous panels here. For example, Kudo saying Yoichi's will lives in him, and when AFO reflected in his eyes

It's something I learned from Re:Zero. When a person in reflected in one's eye, something something that person can see the true core of you, of what you really are underneath everything. The eyes are the window and mirror [glass] of the soul. I finally see the true you.

AFO never reflected anyone.

But Kudo reflected AFO when the man accidentally killed Yoichi. He saw that AFO wasn't seeing anything, so later, Kudo smiled and mocked AFO at his own death.

"Yoichi?"

"He's gone."

"You killed him, Demon Lord."

And AFO hated that reminder.

Kudo was reminding him of what the truth was. Kudo saw it himself, and AFO blocked it out from the get-go. Kudo already knew what AFO was, what he was seeing, what he was doing to himself by blaming Kudo instead of himself.

And then, Kudo's eyes reflected his own hand when he realized Yoichi's Factor was in him.

Kudo clearly saw himself, and in himself, Yoichi. Nothing distorted it. It really was a clear mirror.

He really perceived Yoichi's will was living on, and was right. Otherwise, his eyes wouldn't have shown it.

Kudo was right about AFO. It's even implied back when he and Bruce had their backs turned; Kudo knew what AFO's real goal was. That was back when AFO preached unity and division under him.

Kudo could always see right through AFO. He really understood people from the start. And he never tried making up truths to justify what he was seeing, facing it head-on.

Kudo's lying about the world being black and white.

Kudo and Bruce saw the world as black and white. This was mentioned in the void.

Kudo also says, "Victory meant life. Defeat meant death."

But it's the Resistance. It's when Japan and the world was at their lowest. The world wasn't black and white; there's lots of gray.

Kudo and Bruce would've seen this. Kudo even admits that there's gray, just not directly.

Kudo says Yoichi knows, how he killed and trampled so many lives, to get back at AFO. He knows it wasn't right, or an amazing choice. Later, he says that when your back is against the wall, you have to make callous judgements. These hint at gray moments.

Kudo and Bruce have faced and been in the gray. But it's too hard to make the right choices, and there are times there is no right answer.

Historically, soldiers would convince themselves the enemy were monsters. They wouldn't be able to fight and kill them otherwise. They wouldn't be able to live with themselves without believing in this so badly.

Kudo and Bruce had to have been the same way. They were Meta Humans [Monsters] in a time they were viewed as diseased humans. The monsters were real. And they had a Demon Lord. Kudo and Bruce literally dressed up as soldiers.

Even if they were monsters to society, being Meta, Kudo and Bruce were still human. They knew this. The ones who tried believing in only black and white were inhabitants of the gray itself.

But they have to protect themselves. Kudo is so adamant that the world is only black and white, because he can't stand the gray. What it makes him do, what it means, that he's too weak to do anything.

Yoichi is an example of that gray area. The mortal enemy's younger brother, was actually locked up and sickly. He's just a comic book nerd. And it humanized the other side Kudo opposed so vehemently.

Kudo says victory is life and defeat is death. And Yoichi asked why he reached out to him then. He reminded Kudo of that gray area, and Kudo opened up.

Kudo might avoid the gray area because it's a matter of the heart and a moral dilemma, but it's what makes him human. When there's no right answer in the battlefield, he decides on his feelings instead.

He wishes the world was black and white, because it'd be so easy. But it's not.

Yoichi reminded him of how entering that gray area led to OFA ("when you reached out your hand to me"), and it had been the best choice in the end. The gray area is real, and Kudo's left a bare man with only his emotions when he's there.

Kudo is actually really kind and understanding. He's too soft for his own good. Thanks if you made it this far, I hope it makes sense (tag and image limit)

[yesokayiknow]

okay so you know how it goes: fourteen comes to life in thirteen's clothes. and they're both too short and too loose and entirely too bright for his frame of mind. they worked with a doctor who hid everything behind a too wide smile; not so much with a doctor whose pain and tiredness is written across his face

he needs to change. obviously

and then the star beast starts, and fourteen leaves the tardis, and he's still in thirteen's clothes

he just. he doesn't know. how does he choose new clothes? he feels wrong. how will wearing something else change that?

(donna tells him that it's christmas, mate; it's bloody freezing. maybe wear longer trousers, yeah? also he's both too young and too old to wear braces. just a friendly note)

he doesn't have to explain who he is to the unit scientist, not with those clothes. instead he talks about how he doesn't understand why he looks like this. why he is this. why this face? why isn't he someone new?

actually. maybe he is someone new. was he ever this open before? hm

why do you look like that, sylvia hisses, trying to hide him from the daughter he destroyed ruined left

it's a lottery, he replies, purposely ignorant

he still has his thirteenth self's screwdriver. it's too small in his hands

(the whole time they were her, her hands were too small. she didn't like touching anyway, but whenever someone took her hand, it felt wrong. they were too small. sometimes it felt like if she worked fast enough, tinkered about without stopping, she wouldn't have to look at them)

everything goes wrong. his fault, like always

(blimey. of all the things to carry over from the first time he had this face, it had to be the guilt, didn't it?)

you shouldn't look like that, the doctordonna says, and he runs a hand down his face with a tired laugh

no, the doctordonna says, not the face. a hand reaches out to grasp at the collar of his shirt, at the dangling earring chain. this isn't you. who are you, doctor?

like he knows. like they've ever-

she dies.

she lives. he doesn't deserve it. it isn't about him. he still doesn't deserve it

we're letting it go, donna says, and he looks down at himself, at another him's clothes, another him's screwdriver

well, she never was subtle, his donna

the tardis is gorgeous, though when isn't she. he tries to show off his new console to donna, and she rolls her eyes, and drags him off to the wardrobe

unlike normally, where all the clothes are scattered about, the new tardis wardrobe now also has a line of wardrobes stood against the wall. fifteen of them, to be exact

the last wardrobe is open. and empty

he goes to the second to last, and opens it to reveal a wide array of rainbow patterned shirts. she probably would've hated for her things to be organised like this. always creating mess so she wouldn't have to think about anything important. he laughs. and he takes off the sky coloured coat and the worn boots and the earrings and gently places them inside. tag, he thinks, as he closes the doors

and then he moves down to the eleventh wardrobe, full of brown coats and blue suits and neatly pressed shirts and pairs of converse. and he stands in front of it. and he wonders

after a moment, donna's like wait do you want me to leave?? you never cared about nudity before, did you? and he's like oh actually i do feel more self conscious. huh. weird.

he doesn't have to say, i think i'm a different person. not to donna. she just gives him a smile, and a shoulder nudge, and tells him she'll see him in the console room

the last wardrobe is empty

he takes a breath, and then goes to rummage about in the rest of the clothes

[oceanwithouthermoon]

imo everyone who insists that saikis life was perfect and he was a spoiled brat complaining about nothing are just purposefully ignoring and misinterpreting the whole manga simply because they like other characters better and want to make up scenarios to make their fav seem like a precious little victim in every situation

its hard to explain but i see it happen a lot with specifically people who have dedicated accounts for other characters and constantly misattribute every issue to "saikis such a baby, my character has it way worse!" "saiki hurt my babys feelings once so i hate him!" "saikis such a spoiled brat, my baby has a way shittier life and never complains about it!" "saiki hurt my poor precious fav once so hes an abusive monster!"

and said "shittier life" that they "never complain" about is either the persons headcanons (literally made up) or... the character DOES complain about it and the person takes those words at FACE VALUE but ignores everything else, including things that actually HAPPEN right in front of our eyes