#that's the piece of media that explains why I am the way I am

[justsumtransdude2000]

Because you asked so nicely;

When we talk about twinkification we first have to establish what 'twink' as a concept is, and while I don't like playing semantics I do think the way we define this word is extremely important, mostly because twink, in the modern era has become one of two things. On one hand, it has become a term to use about any feminine man, sometimes even regardless of sexuality or even gender presentation. On the other, it has become another way for straight white women to call gay men slurs without actually saying said slurs. I don't think I should have to explain to you why both of these definitions are incorrect, harmful, and water down the way we see twink. Twink, according to Wikipedia (and before I hear any bullshit about it being wiki, if you will oh so kindly look at the long source list, there are many credible and also queer sources for the article) refers to a skinny, often young, hairless gay man. This definition has evolved from its (highly debated) original one of either 'twank' (a gay, male prostitute who is also a bottom) or twinkie, as a reference to the food because twinkies (I shit you not this is what the article says) lack nutritional value, sweet to the taste and creme filled. Now, the article says that twink is merely a physical marker. I, as a gender non conforming trans man who considers himself othered from the community of gay men (for reasons of both transness and bisexuality), cannot speak on this, or how the word is currently used in gay culture. I can, however, as a chronically online piece of shit, speak on how the word has developed in fandom culture, and how the twinkification of a character is not just physical, but also a stripping of said characters main attributes. But, to summarize, the word twink refers to an effeminate gay man who is (traditionally) young and a bottom. He is skinny, tall and sassy. Twink, in the real world is used only as a physical marker, but in fandom space is almost completely different to its real world usage.

Now that the semantics are out of the way we can get to the meat and potatoes of this essay. Twinkification, as a process applied it fictional characters, is bad because it strips them of their core identity traits to make room for sass, their skinniness (which is turned into a personality trait, or, at the very least a main characteristic) and their bottomness (please see the previous set of parenthesis). As to be as precise as possible with how this can/does happen I will use characters from a fandom I am familiar with as an example; Regulus and Sirius Black, as characterized by the Marauders Fandom (which is, in fact leagues different from the Harry Potter Fandom). However, to be as precise as I personally want to be, I also have to explain the significance of both of their characters, and how them being changed fundamentally is not that out of place because of the fandom, so that I can (eventually) prove that the way they are often characterized not only does not resonate the sentiments of the fandom, but actively works against it.

Firstly, the Marauders Fandom does not abide by canon, unlike other fandoms that may work in a very dissimilar way. This fandom operates on the basis that, because the canon is written by a TERF who gets physically enraged when in proximity to a trans person, taking her original characters and making them as queer as possible actively works against her, and is therefore not only a way of protest, but also a way to enjoy some peoples favorite media, guilt free. (There are multiple different sides to this arguement, and while I have my opinions on what constitutes protest and how guilt free one can actually be while not actively doing something for the communities JKR often hurts, that is not what this essay is about). This is the viewpoint all the characters, and therefore my argument, hinges on. To truly understand the twinkification process we need to first examine how these characters are treated in canon versus in the fanon universe. Sirius, for example, is canonically very unefeminate. While he is sassy, often throwing quips and firing back at people when he has the chance, he is not sassy in the same way that twinks are. In fact, I would argue Remus is much more effeminate and twink adjacent, but I'll put a pin in that for now. Going back to Sirius, though, he is almost the antithesis of a twink when it comes to a real world perception of the concept. He has wild, long hair in his first appearance, and while he is also skinny that is because he is malnourished, not because it is his natural state. He also has thick facial hair that he keeps throughout his appearances in the movies and (if I'm not mistaken) the books. He is hairy, vulgar at times, sarcastic, and doesn't do anything I (personally) would deem as 'bottom behavior.' His fanon appearances are, however, quite different.

Throughout fanon Sirius is often depicted, physically, in the same way he is when he is severely malnourished and on the run from soul sucking demons, which is to say, the fanon is not based on him when he is at his best both mentally and physically. He is often written or drawn to have gaunt cheeks and skinny, bordering on malnourished, features. His hair is long, but kept very proper, his nails are trimmed short (sometimes) and often colored, he is very often depicted as a bottom in the very popular fanon ship between him and Remus Lupin, and dresses extremely differently depending on the depiction. It is here, however, I do have to admit I do not have a strong case for his twinkification, because of the fact that he is often written to be genderfluid or nonbinary, and its a very common headcanon to hold. That being said, he is still often robbed of his personality to be the traumatized, rich, twink who is alll the way down bad for one Remus Lupin. Even in his own fics he is often characterized as lazy, dumb, and only carrying the following personality traits; sarcastic, traumatized, skinny, and slutty waist (I am truly tired of hearing this phrase! I mean it! Stop sexualizing every part of a goddamn body you hornballs). This is all to say that; twinkification is not only about the body but also about the soul.

Moving on, however, to my much stronger evidence; Regulus Arcturus Black. Regulus has 0 canon appearances, on account of being dead, and has a few cameos of which only his memory is present. The only things we know are; he was a death eater because he was (as described by Sirius Black, his brother,) 'too soft' not to fall into the ideology his parents had picked out for him, he was a Slytherin, he was on the quidditch team and likely a seeker. There is a singular picture in the film adaptation that makes him appear, in my opinion, quite well built. However, when adapted into fandom many things are changed about him. He and his brother are implied to having been abused by their parents, causing Sirius to move out in the summer between 6th and 7th year (I could be wrong on this as the canon and fanon timelines have become muddled), something that canonically is often translated into physical abuse. Because of this Regulus is betrayed as the lesser willed sibling. While Sirius definetly has a fight response the the abuse in fanon, Regulus has a freeze or (more accurately) fawn reaction, which unfortunately leads people to portray him as weak (there is a lot to say about that and how this fandom in general views abuse victims, and as someone who is an abuse victim myself some of you guys really could benefit from, I dunno, logging off a while). He is often also portrayed as sarcastic, depressed and skinny which I must emphasize is more often than not a personality trait and not a descriptor. Because we don't know much about his canon personality there is no telling if this directly contradicts his canon self, but we do know that he was, for lack of better term, kinda evil. He was a death eater and only really stopped being one because Voldemort hurt his closest friend, a house elf named Kreature. Why do people do this though? The same reason people do anything in fandom - for the sake of a ship. A very popular fanon ship is Jegulus the ship between Regulus Black and James Potter. James in this instance is a jock, one of Sirius' friends and a (for lack of better term) Good Guy, TM. People like this dynamic because, you guessed it, poor gay sadboi gets rescued by Good Guy TM and the abusers die, or whatever, Regulus is stripped of his autonomy in his own choices because it's no fun if he actually chose anything because that would make him flawed and while fandom praises morally grey people they actually hate staring into the abyss and seeing anything relatively human staring back at them because then they are reminded that their black and white thinking will not help them brave the winter that is going outside and interacting with people. Moreover, Regulus is often stripped of an identity outside of Jegulus, his personhood being removed along with his autonomy so that he can be forever codependent on James, until death do them part. He is also often described as pretty in an almost feminine way, white, short and gay, with high cheekbones and gaunt cheeks and - fuck how many other ways can I say he's skinny? To get to my point, Regulus is twinkified by his autonomy and personhood being stripped away from him systemically to make room for fandom's favorite OTP. By taking away the bad things he's done, and then labeling him morally grey because he is mean but in a way that reminds people of their own high school bullies, we are stripping him of the things that make him him, and cutting him down to a borderline homophobic caricature of an 'evil twink.'

Finally, why do I think this happens? A lot of reasons. The shift in public perception from gay people being evil baby eating crossdressers to them being okay in most parts if America and Canada has also shifted how covertly homophobic people are allowed socially to talk about us. Because of this they have had to find sneakier ways to call us slurs, and have settled (or had settled, for a while) on twink. But, because straight people primarily control culture and therefore perception of us, the general reaction from gay and queer people was important. Hence the normalization of calling any gay man with a pulse a twink. But I think that has little to do with fandom and more to do with the general okay attitude towards it.

I also think it happens because of people's general want for that morally grey, but not in a too bad way, characters. They want that golden spot of getting someone who is mean and does kind of bad things like stealing and smoking cigarettes and calling them fags, but not someone whose actions they actually have to reckon with and actively try not to normalize. Basically it is really hard to defend racism, even if it's in a fictional setting.

Furthermore, I want to talk about peoples need for a sanitized type of queerness. A gay man who is feminine, but won't put on a dress because crossdressing is still generally weird and too gay right now and just not in. Someone who is sassy but not female because then it isn't gay. Someone who only breaks gender norms a little, because if they actually broke out of the box that is gender a lot of people would not be able to tuck themselves in at night knowing that characters in a fictionally setting are defying norms in a universe they are not a part of. Because, at the end of the day, it's cool to have 'deconstructed gender' until you have to confront how it has benefitted you, so to get around it? Strip characters that you want to be gay but not too gay into a caricature that you can see in any late 90's early aughts romcom/sitcom.

I am sorry that this took so long and also sorry for writing it. I am a yapper, and you asked, so really it's your fault (damn am I Regulus because the writer is stripping me from accountability with my own choices)

People who twinkify Regulus/Sirius and make James/Remus (respectively) big and strong haven't unpacked heteronormativity and still believe - maybe even subconsciously - that every relationship has a 'man' and a woman.' In this essay I will-

[ferronickel]

@stainedglassthreads asked about my inspirations when it comes to comics creation, which I am always excited to talk about! (You have unwittingly activated my trap card, so be prepared for a long ramble!)

My comics are primarily a product of the 2014 Image boom and the 2000s webcomic scene....

...and the main sources of my comics craft knowledge are the works of writer Kieron Gillen, artist Jamie McKelvie, and colorist Matt Wilson. They're an incredible team and everything they've done together is worth checking out, but I'm going to talk about two of their comics here. Young Avengers (2012) is a good place to start. Tons of formalism and interesting panel layouts. It's the first place I looked for inspiration when I was planning the design for Looking Glasses. Definitely worth checking out if you like cape comics, but also worth it if you don't, it's pretty stand alone. (Plus it introduces a lot of ideas and characters that Marvel is currently pillaging for the MCU, so it's always nice to see those ideas in their original context before my employers ruin it)

I can't talk about comics without bringing up The Wicked + The Divine (2014, written by Kieron Gillen, art by Jamie McKelvie, colors by Matt Wilson, lettering by Clayton Cowles). It's an incredible comic and a formalist masterpiece. 12 young people are reincarnated as gods, they have two years to live, and also they're pop stars. Issues frequently challenge the way you read comics, or break into completely other mediums (One issue was written almost entirely by real world magazine writers interviewing the in-universe characters). You can see my influences here pretty clearly: the interstitials, the style shifting, my recent (incredibly blatant) reference to Lucifer's transformation. Also the fashion, Jamie McKelvie is a fantastic designer! This comic is a must read for anyone interested in the medium of comics, especially Kieron's writers notes (all available here on tumblr at @ kierongillen), where he breaks each issue down panel by panel. The writer's notes are essentially a free masterclass in comics craft. (and when you've read that, check out the zine I organized with @gen-is-gone and 37 other artists here on tumblr at @iconic-zine) I cannot overstate that this comic is the reason I make comics.

I feel like I can't not mention DIE (2018, written by Kieron Gillen, art by Stephanie Hans, lettering by Clayton Cowles). Six kids disappeared into their d&d world and returned two years later, now they're adults and their past is coming back to haunt them. It's a fascinating exploration of portal fantasies, and has definitely influenced how I approach the dark world/darkners. (also, if you read DIE and want a good breakdown of the historical stuff, be sure to check out the podcast DIE-Compressed)

Honorable mentions: The visual stylings of Caspar Wijngaard in Home Sick Pilots (2021, Watters, Wijngaard, Bidikar, Muller) The colors of colorist Jordie Bellaire, in this case Injection (2015, Ellis, Shalvey, Bellaire) The work of Emily Carroll Everything from Pretty Deadly (2015, Deconnick, Rios, Bellaire, Cowles) A lot of stuff from Sex Criminals (2014, Fraction, Zdarsky), it's an incredible comic that goes way beyond it's (fairly nsfw) concept. There's a ton of formalist stuff here, and it tackles all sorts of concepts with a level of depth you wouldn't expect from such a silly setup.

In terms of webcomics influence, I am, unfortunately, a bit of a Homestuck. There's a lot to be said about this comic and I'm trying to keep my word count down here, so let's just say that it's arguably one of the most influential webcomics, and while many of it's ideas aren't necessarily unique or are derivative of other works it is singular in it's scope and presence. I find it mainly affects my own work in the way I think about the website design. (Plus, you know, Toby Fox)

Other notable webcomics that have influenced my work:

The works of Evan Dahm Barbarous Stand Still Stay Silent Lackadaisy (and a bunch more, but this has gone on long enough)

[nolita-fairytale]

give you my wild, give you a child | carmen 'carmy' berzatto x pregnant fem!reader oneshot

summary: your second trimester while pregnant with baby bear is way sexier than you expected.

warnings: smut, breeding kink, language, 18+ only, barely proofread.

word count: 3.7k

a/n: hi it's me with the second trimester sexapalooza smut i promised @starbritestarlite and @carmensberzattos. and with this new season, let me know if you want to be added to my carmy taglist!! i wrote this as a companion piece to the 'make my heart heart surrender' universe, specifically for the 'carmy as your baby daddy' headcanon/social media au series. anyways, i've been thoroughly enjoying season 2 and am sitting into the fact that i've created my own universe inside of their universe. god we love fanfic. anyways... this is nsfw so 18+ only.

Today 2:21 pm

Carmy “my baby daddy” Berzatto: On the way home for lunch. 

You: Hurry, baby. 

Carmy “my baby daddy” Berzatto: You good, sweet girl?

Your reply is almost instant, and Carmy wonders what could possibly come next as he sees the three dots appear below your message, indicating that you’re still typing. 

It’s a link, his eyes widening as soon as it appears in his iMessage history with you. 

You: Hottest Sex Positions For Pregnant Women | Cosmopolitan 

Before he can notice that it feels ten degrees hotter in the room, that his face has turned cherry red, that his pants are beginning to feel unbearably tighter, he’s interrupted by the sound of a familiar voice. 

“You good, chef?” Marcus asks, as he passes by, noticing the red tones that have risen to Carmy’s cheeks. 

“Wh-, oh yeah!” Carmy answers, almost too quickly, as if he’s been caught doing something he shouldn’t be doing. 

Marcus shoots him a strange look, examining his boss’ face. 

“Just uh… gotta go home for lunch.”

*

3:03 pm

“What took you so long?” you practically growl as soon as Carmy gets through the door. 

He hasn’t even had a chance to close it properly before you’re on him like a moth to a flame. Dressed in the cutest pair of white shortalls, you’ve been working from home all day – or rather, mindlessly clicking through your e-mail while waiting for Carmy to come home all day, your mind preoccupied with the fact that Carmy hasn’t been home to give you exactly what you want. 

What you need, may be the better description. 

It’s as if the spirit of Eros himself has taken you over, unable to focus properly as your rapidly changing body needs is practically screaming out for one thing and one thing only: 

To be properly and thoroughly fucked by the man that got you here in the first place. 

“I-,” he begins, attempting to explain that he was running a little behind and got caught up giving feedback to one of his new line cooks before your mouth is on his in an all-consuming kiss. 

Now that he’s here, you regret even asking him, careless for the why when it feels this good to have him pressed up against your body. Your lips are desperate, hungry, intense, as you tangle yourself into him. It’s as if you can finally relax, like you can finally take a breath, now that your husband is finally here. 

He lets out a little groan of surprise against your mouth, as if you’ve charged towards him like the sexual equivalent of a tasmanian devil. 

And in his defense, you have.

“Baby,” he whispers against your lips. “Should we-, can we even-, shouldn’t you be working?”

He’s not wrong. 

You should be working. 

But the unbelievable and insatiable need for sex – for sex with Carmy – is the only thing driving you these days, holding you hostage to its unbelievable and all-encompassing power. You’re like a woman possessed as you reluctantly pull away from him to put his mind at ease. Your lust-filled eyes look him over, his curls already wild from a long day at the restaurant, as you shake your head ‘no.’

“I finished all my work for the day and signed off early. Perks of being a start-up sellout,” your well-kissed lips inform him. 

Carmy’s head spins in response to your answer.

Maybe it’s the prospect of the sex. 

Maybe it’s the way it’s the way your mouth feels against him as you kiss down his jawline and his neck.

“Okay, but I gotta be back at the restaurant at 4:15,” he smiles in agreement, more than happy to oblige.

“That’s plenty of time,” you coo, nibbling on his earlobe.

This time it’s Carmy who initiates, using both of his hands to cradle your face before his mouth is over yours again. The kiss starts slowly this time as he inhales deeply, taking you in. You shift closer, pressing your slightly-rounder-these-days belly against his body once more. He moans, his hands immediately traveling down your body, to your hips as he breathes you in again, wanting nothing more than to stay like this with you forever. His touch ignites something in you and you allow yourself to surrender, lost in the feel of his hands against you. His hands are everywhere – your hips, traveling up your belly, dancing across your fuller-than-normal breasts – and finally the drawn-out unrest of your mind can finally find peace.

He’s starting to get used to this. 

And he’ll admit that he really, really likes it. 

Carmy changes positions with you so that he can press you up against the front door as you continue your passionate makeout. 

Your first trimester had been hell – mornings spent on the bathroom floor together while you hurled the contents of your stomach into the toilet, days where you barely had the energy to get out of bed, nights where you were too hot to sleep that all you could do was lay on the cold tile of the bathroom floor, frustrated tears pouring out of the corners of your eyes – your body undergoing the hardest reset of your life. 

So when the fog and tumultuousness of your first trimester subsided, it was a more than welcomed change – and in so many ways. You’ve traded mornings of flat ginger ale, saltines, and sympathetic back rubs, with mornings spent tugging on Carmy’s perfect curls while you cried out his name.

“You smell like sandwiches,” you giggle in between kisses. 

“Ah shit. I should shower,” he sighs, reluctantly. 

He knows your sense of smell has been heightened lately, and he can’t imagine that smelling like a spicy Italian sandwich would be much of a turn on for you. He begins to pull away, but there’s now way in hell you’re letting him go as you grab his hands in yours. 

"No, Carmy, I can't wait,” you whine, the sound of your voice the most needy, beautiful thing Carmy’s ever heard in his life. 

“You could join me,” he offers with a raise of an eyebrow, presenting a solution you can absolutely get behind. 

“Uh huh. Yes please,” you nod eagerly, a girlishness to the way you answer him. 

Please.

Your usage of the word’s got him harder than a rock and he loves this side of you. Your sex life had been great before the pregnancy, but there’s something different about it now. Something about how needy you’ve been – the only thing that can possibly quell the fire inside of you being him – has him unraveling at the seams. 

How could he possibly say no when he’s more than eager to give you exactly (and then some, if it’s up to him) what you want? 

Your fingers are still tangled in his, licking your lips as you add, “My baby daddy thinks of everything.”

Carmy shakes his head, tugging at your hands as he leads you towards the bathroom, mentioning that he still can’t get over the fact that you’ve chosen to call him that in front of everyone you’ve ever known. You remind him that it’s cute, and though he’s not sure he gets it, he lets you do it anyway because it makes you happy.

As you both reach the bathroom, you patiently wait as Carmy turns on the shower, running a hand through the stream of water to check the temperature. One minute he’s focused on the cool water coming down from the showerhead, and then next he’s caging you in between his body and the bathroom sink. 

“You miss me this much, pretty girl?” he murmurs dreamily, his hand trailing up your inner thigh. 

You nod, taking note of how perfectly his top lip fits in between yours. 

“Yes, baby. Thanks for coming home for lunch,” you manage to get out, in between desperate kisses. 

“No need to thank me,” he smirks, a newly-found confidence in his voice. 

His hands are tugging at the hem of your shorts, as if he could slide the overalls down your body this way, a small pang of frustration welling deep in his stomach as he realizes that’s not going to happen. He kisses you with a fervor that makes you dizzy, as Carmy fumbles with the straps of your overalls. Trying his best to unclasp one side, he tosses the strap over your back, a clang sounding out within the four walls of the small room as the metal of the claps hits the porcelain of the sink. 

Carmy lets out a groan as he tugs at the second strap, causing you to giggle. 

“These stupid things,” he huffs, a look of embarrassment running through his brilliant blues. 

“Here, baby,” you say, slipping one of your arms out of the tangled strap. 

He groans as soon as his eyes meet yours again, more than happy to help you out of these damn things.

He pulls the overalls down with a rigor that stops right as the overalls drop to your waist, revealing your white tank top – one that you’re not wearing a bra underneath. 

“Sweetheart,” he groans, his hands ghosting over where your nipples stand erect against the fullness of your breasts. 

“You been like this all day?” he mutters against your skin, leaning down to drag his mouth over your still-clothed breasts. 

“Mmmmhm. Needed you,” you moan, your eyes closing as you lose yourself in the pleasure he’s giving you. 

He’s so incredibly hard right now it’s not even funny. 

“Yeah?”

By the time you open your eyes again, Carmy’s on his knees, so gentle, so tender with the way he slides the rest of the piece of clothing over the bump that’s been growing inside of your belly.

“Yeah,” you confirm. 

You shimmy out of your overalls as Carmy jumps back to his feet, removing your tank so that the only thing you have left is the pair of panties you’re still wearing. Before he can kiss you again, you’re tugging off his shirt, a sacrifice, an offering to the bathroom floor. 

“Should be warm enough, yeah?” you ask, gesturing towards the shower. 

“Yeah,” he agrees with a nod, removing his shorts. 

You feel all the blood in your body rush south as you see how hard he is already, swallowing hard. Carmy helps you into the shower, like the gentlemen he is, and you hope that’s where the gentleness ends. 

Before you can say anything else, he’s pulling you towards him, wrapping one of your legs around his waist as the warm water begins to wash over the both of you. 

“I’m so sorry, pretty girl,” he hums as his nimble fingers slip between your legs. He groans as soon as he feels how goddamn wet you are. 

“Fuck, honey.”

“See? I told you I needed you, Carm,” you pant, letting out a high keening moan as he draws lazy circles around your clit. You’re already bucking your hips into his hand and he’s barely started touching you. 

"You're so sensitive. So responsive, sweet girl,” he teases you, as he drags his fingers through your folds. You are so unbelievably wet that he’s not sure how he managed to get so damn lucky. 

"I just want you to fuck me, Carm. I’ve needed it all day. I need you to make me feel good," you beg, completely lost in the way his fingers feel as he slides two into you already. 

It’s like his touch sets fireworks off in your brain, setting your nerves on fire as you cry out. 

"Yeah?” he taunts you, an almost amused tone in his voice as he sets the slowest rhythm. “Think that’s how we got here in the first place, pretty girl.”

"I know,” you whimper, moving your hips against his fingers for any kind of friction. For something more. For something faster. For something deeper. But at this rate, with how much he seems to enjoy teasing you, with how horny you are, you’ll take anything. 

“But nothing feels as good as you, Carm.”

Your words go straight to his dick and he’s not sure he’ll ever be able to leave you alone ever again – might as well quit his day job in exchange for this all-day never-ending second trimester sexapalooza you both seem to be caught inside of. 

He’s practically choking on his words as he manages to ask you:

"What’s that, baby? Did you touch yourself while I was gone?" 

You nod pathetically, moaning as he buries his thick fingers deep inside of you. He pauses, feeling the way your walls pulse around him as he stays inside of you, wanting to memorize this moment forever. 

In any other circumstance, he’d make you fall apart on his fingers, and then his tongue before you even went there, but with your recent admission, he’s decided that he has to have you now. In one swift motion, Carmy pulls his fingers from you, releasing his grip on your leg, eliciting a whine at the loss of him. 

Before you can even protest, he’s turning you around in the shower, and you can feel his hard-on pressing against your backside as he pulls you close.

“Sweetheart, you can’t just say things like this,” he taunts you, playfully, as he drags his cock through your folds a few times. 

“Carm,” you whimper, bracing your hands against the shower wall. “Don’t tease.”

“What’s that?” he coos, pressing his thick tip against your clit. 

“I don’t think I can take it. Please, baby,” you whine, so desperate for him to be inside of you. You push your ass back against him, offering your body to him for the taking. 

“Fuck!” he grunts out, because he just can’t resist you like this. 

You let out a sharp cry, as Carmy pushes himself inside of you, finally giving the thing you’ve wanted all day long. 

Carmy sets a slow pace at first, burying himself all the way to the hilt, so that you can feel all of him – every single ridge, every single vein of his cock with each thrust – and with how sensitive, how turned on you are, you’re already seeing stars. His hands hold onto your waist, controlling the speed of your lovemaking, as you press your hands against the shower wall, bracing yourself. You want him everywhere, all around you, consuming you with every fiber of his being, as if all you can do is hold yourself up and let him know how good he’s making you feel. 

Carmy’s lips are on your neck, leaving love bites across your shoulders, murmuring sweet nothings about how well you take him and how good you feel. And then he’s speeding up the pace of each thrust, pulling you back towards him. His hands are all over you: pressing you back against his chest, squeezing your breasts, pinching your nipples as he takes care of you. 

His wife. 

The mother of his child. 

The love of his life. 

You turn your head just enough so that you can kiss him as Carmy’s hand reaches up to cup your face, making sure that he can kiss you properly too. This time you’re standing up taller, grinding against him, wanting to touch your husband more than you need to hold yourself up against the wall. Your hand slips behind you, grabbing at whatever parts of him that you can, bracing yourself against him, as if you could get Carmy even closer to you, while the other is guiding his across your body, your fingers tangled together. 

He’s perfect. 

This is perfect. 

It’s what you’ve been aching for all damn day. 

“I need you, Carm,” you moan into his mouth, as the consistent feel of him thrusting in and out of you has you delirious. 

"You have all of me, baby,” he reassures you in the tenderest tone of voice he can muster, his other hand resting just underneath your breasts as he fucks you. 

"More." 

"More?" 

He’s not sure what ‘more’ could mean at this moment, but the dirty talk is so hot that he’s more than willing to find out. He slows down his pace, dragging his cock in and out of you and the most delicious pace. 

"Yes,” you pant, pulling away from the searing kiss, your head hanging low. Your hands return to the shower wall as you arch your back, bending at the hips so that you can take him deeper as you add:

“I want to make you a daddy." 

His hips stutter for a second, caught off guard by what you’ve just said. 

"You-you are, sweetheart,” he chuckles, slowing his pace down for a moment as he watches himself disappear inside of you over and over again. 

“Carmy,” you groan, in response to his change pace. 

You’re grinding your ass against him, begging him to speed up, but his hands return to your hips, stopping you. 

The sight alone, and what you’ve just said, he thinks to himself, might kill him. 

You whine as Carmy brings his movements to a halt, trying to get him to fuck you again. But he can’t let what you’ve just said go unrecognized as he stills your hips. 

"What was that? You like walking around like this, hmm? Everyone knowing what I've done to you?" he asks you, holding your hips so that you can’t move.

You’ll give him anything to get what you want. 

Even if it means saying it again. 

“Yes, baby,” you sigh, and Carmy lets out another moan as you squeeze around him. 

“I want to make you a daddy. Just fuck me. Please.”

“Oh fuck,” Carmy mutters, knowing he’s not going to last much longer if you keep that up. 

He pulls out of you, and before you can protest, he’s slamming back into you in a way that makes you sob. He sets a brilliant pace this time, and you're arching your back, pressing your hands against the wall even harder – and all you can do, all you want to do, is take it. Hearing you chant his name over and over takes over him. He’s a man determined, with a single-minded focus on giving you exactly what you want. 

He’s reduced you to a moaning, mumbling mess, as you chase both of your orgasms. 

“Touch me, Carmy,” escapes your lips, and he’s more than happy to oblige, his fingers immediately coming to your clit. 

He’s so goddamn talented, using his cock and his hands to make you fall apart. 

You feel a familiar coil in your belly, and with the way you’re squeezing around him, Carmy can tell your close. 

“Come on, sweet girl. Go ahead and let go for me,” his voice sturdy, confident, strong. 

And seconds later, your eyes slam shut as you’re crying out his name, falling over the edge as your husband pulls the most delicious orgasm from your body. 

“That’s it, sweetheart. That’s it.”

He’s right behind you – literally and figuratively – as Carmy’s thrusts become more erratic, finally letting go after exercising an impossible level of self control. He spills inside of you with a grunt, holding you against him as he pauses. 

Breathless, you throw your head back, grateful that his shoulder is there to catch you. With the slightest turn of your head, you’re able to kiss him, placing the gentlest kiss against the corner of his mouth before Carmy’s hand comes up to lift your chin towards him again, so that he can kiss you properly. 

“Holy shit, Bear,” you sigh, a sense of relief washing over you. 

“Yeah,” he pants, trying to catch his breath with you. 

You both take a beat, a moment to let your brains catch up with your bodies, just holding onto each other – savoring the way it feels to be in each others’ arms. 

“I should uh… I should probably still shower,” Carmy starts, beginning to come back down to earth. 

You turn back towards him, wrapping your arms around his neck, entertaining him with slow, lazy kisses in between words. 

“But why don’t you dry off and get into bed?” Carmy suggests, using a quiet yet direct tone, almost as if it’s an order. 

It’s as if he knows that, though the last orgasm he’d just given you had been world-rocking, there’s no way in hell you’ll be satiated today with just one. 

“Really?” you ask, hopefully with a giggle. 

“Yeah,” he nods. 

“Heard, chef,” you tease him, eliciting a playful eye roll from him. 

He releases you, giving you the time and space to wring out your hair and step out of the shower. 

And as you do what he says, he rewards you for it, spending the rest of the afternoon with his face buried between your legs until he’s ready to go again. 

*

“And we’ve got a special tonight. Lemon chicken piccata. We’re talkin’ major Berzatto family recipe, ok? So let’s make sure we’re talkin’ up, alright?” Richie announces, following it up with a reminder to all of his servers of the main talking point during tonight’s pre-shift meeting. 

Carmy thinks he’s been stealthy as he attempts to sneak back into the restaurant, considering he’s thirty minutes late. He feels lucky that since everyone is preoccupied with the pre-shift meeting that they couldn’t possibly notice him slipping in this late. He hears the meeting end, making a mental note that tonight’s mise has been done right, praying that tonight’s service goes smoothly. 

He has, afterall, been using up a lot of extra energy lately…. 

“Hey, Jeffrey. We were wondering when you’d be in tonight,” Tina comments, as she returns to the kitchen, ready to lead service tonight. 

“Oh uh, yeah. Sorry, got caught up with some stuff,” he mumbles, avoiding her gaze as he doesn’t have an excuse or a cover story. 

“Mmmhhhmmmm,” she sounds, passing him by, because it’s no secret what Carmen Berzatto’s been up to lately. 

“Yo, cousin!” Carmy calls out, in search of Richie. 

Carmy makes his way into the dining room, and as soon as Richie sees him, knowing what time it is – knowing that Carmy’s running late – he smirks. A blush runs over Carmy’s cheeks as Richie shakes his head with a laugh. 

It’s as if Richie can see right through him, and suddenly, Carmy’s feeling incredibly exposed.

Richie wags a finger at his cousin, his laugh beginning to build. 

“Ahhhh man, cousin,” he sighs, an amused look on his face as he continues. “No one warned ya, huh?”

“I-,” Carmy starts, searching for any and all excuses he could make up on the spot, to no avail. 

“Men can’t resist a pregnant woman. Sheesh. Enjoy it while you can, jagoff.”

[landoslvr]

MRS CHRIS | c. dixon

summary: a scroll through your internet presence as 'mrs chris'. [social media AU.]

pairing: fem!reader x chris dixon (chrismd)

faceclaim: eva meloche

notes: first piece for mrs chris out of the wag universe. eva is gonna be the main fc I use for mrs chris, hopefully you like it!

liked by taliamar, faithlouisak and 4,398 others

yourinstagram charity match this week, plus some other fun tidbits

view all 129 comments

user that outfit 🤩

user I knew she was a rhode girly 💅

taliamar soooo pretty 🤍🤍🤍

stephan_tries the only person who is safe from my slander in the commentary box

yourinstagram it's because without me you would've been cancelled a loooooong time ago

stephan_tries best pr manager in the biz

user my idol tbh

user you radiate good energy

chrismd10 another day, another slay 😚

yourinstagram please never speak again

liked by yourinstagram, wroetoshaw and 180,837 others

chrismd10 there's norway this is my job

view all 398 comments

faithlouisak my daughter's gonna see that picture one day

user get y/n on it now!!!

user creating more work for y/n by posting ethan's ass pics

user couple goals 😩💅

user when he makes her job harder 🤩🤩🤩

user chris hitting the glow-up hard 🤤

user y/n knew what his potential was 🤍

user they started dating and he just got hotter??

user that harry shot was lethal 🫣

user sick video 👍🏽

yourinstagram why must you do this to me? do you hate me?

behzinga I'm sorry

yourinstagram I'm letting you go

chrismd10 sorry mate

yourinstagram you're next md

liked by miniminter, chrismd10 and 4,982 others

yourinstagram norway for the week <3 at shoots and scrubbing ass pics from the internet 🫶🏼

view all 187 comments

user she's just so pretty 🫠

chrismd10 good luck with that 🫣

yourinstagram you can explain to olive why her dad's bum is all over the internet one day christopher

faithlouisak aunty y/n would NEVER do that to her beloved neice

yourinstagram my literal baby girl 😭

user y/n drinking wine to ignore her boyfriend and other clients being stupid

user literally every person in the new video, apart from danny, is a part of y/n's client base

user how does she do this shit

user girl has managed to stop HARRY LEWIS from getting cancelled, I'm convinced she can do anything

liked by georgeclarkeey, freyanightingale and 5,019 others

yourinstagram mixing work with pleasure apparently..

view all 213 comments

user EAT HIM UP Y/N

user in the words arthur television: she gagged him

calfreezy send kart 21 down the river

user chris on a ladder is so funny to me 😭

maxbalegde sexy pr lady, come over right NOW, you look too good to not be at my place of residence

yourinstagram be right there xx

user casual london fashion week pic on the 2nd slide x

yourinstagram humble bragging 😩

user I want her life 😭😭

user ikr literally hanging out with all your friends because you manage their image? sign me up

yourinstagram rlly easy guys, just date a famous youtuber and have a media and communications degree xxxx just so easy!!

chrismd10 never forget where you came from.. me

yourinstagram okay mr arsenal bedsheets x

liked by chrismd10, willne and 5,193 others

yourinstagram I got my Greece trip- I mean video... and got to pick which extras to bring along......

view all 287 comments

user quick everyone act shocked that chris is there

user oh my gosh.. no way, chris? I am so surprised

yourinstagram I appreciate the effort guys 🥲

user she just is that bitch 😭

user you know she's got every single one of those men wrapped around her finger

arthurtv i wasn't one of the chosen ones 💔

yourinstagram because im tired of you and chris sharing a bed and me sleeping on the hotel couch

chrismd10 foiled again arthur

calfreezy send me this pic you traitor

user pr manager/photographer

yourinstagram I need a pay rise

chrismd10 thanks for stowing me away in your suitcase xx

user she's mothering I love it

user so hot

user major fitty ❤️‍🔥🤩

taliamar so true

liked by yourinstagram, freyanightingale and 178,399 others

chrismd10 constantly reminding me who she is in that first photo. happiest of birthdays to my pr manager and nothing else!

view all 412 comments

user happy birthday y/n the pr manager!!

user a y/n photo dump is my favourite kind!!

user spoil us chris!!

wroetoshaw happy birthday y/n!

faithlouisak my wife's birthday 🤩

ksi happy birthday to the goat

user chris and y/n be sappy challenge

callux the queen! happy birthday!!

vikkstagram happy birthday mrs chris!! thanks for everything

yourinstagram thank your lucky stars you posted all nice pictures or I would've deleted your youtube channel xxxx

user Y/N PLEASE 😭

[linkspooky]

TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

[the-fiction-witch]

I Like Him P2

Media - House Of The Dragon Character - Oscar Tully Couple - Oscar X Reader Reader - (OC) Jaerra Targaryen [Daughter of Daemon Targaryen & Rhea Royce] Rating - 15 Word Count - 1119

Jaerra followed her father and Lord Oscar out into the fallen godswood of Harenhall where the riverloads had gathered below a cold grey sky. She sat on a large piece of stone that littered the courtyard, as Daemon paced Oscar pacing around him going to toe to toe with Daemon.

"In the deepest darkness comes the dawn... a new lord... a new beginning," Daemon explained, "Let us put all the old unpleasantness behind this,"

Tension bubbled as lords looked between each other,

Oscar spoke up, "Be Welcome my lords, and you have my thanks for answering my summons," he explained his voice raising as he spoke finding his firm voice large enough to address the crowd of lords, "I know I am not the man my grandser was... but I hope to begin well and go on from there."

"Well said." Daemon added, "One thing is clear, the river men honour the old ways and abide by tradition, here then is tradition Grover Tully is dead, Lord Oscar raised up in his place, and you have been summoned here to swear anew your fealty to him. And as his bannermen answer his call!"

"And what would that call be?" a River lord asked,

"In his wisdom, he has pledged his house and yours to me," Daemon answered before Lord Oscar could speak.

"Lord Osacar, for generations we have been guided by the judgement of your forebears, why now should we follow a boy younger then my own sons? When you will align with one... who will desecrate the innocent to reach his aims." Lord Piper asked,

"I did only what was necessary! My lord." Willem Blackwood spoke up, "And I now deliver to you the traitor Amos Bracken and his son."

"No more a traitor to his lands than you Willem Blackwood!"

"I take to heart your words, lord Piper." Oscar broke up the fight before it began, "And I agree, I am young... and I have no love for Daemon Targaryen," Oscar glared at Daemon, briefly his eyes met Jaerra and he went to speak but he continued on, "he has dishonoured himself and the crown with his... comportment here. Nevertheless having so little experience to guide me... my best course is to defer to the oath my grandsire sword to King Viserys when he named Rhaynera Targaryen his heir, I see no reason to cast aside loyalty... no matter how loathsome I... may find her representative the prince."

"King." Daemon glared,

"Consort," Jaerra added,

"Mind your young boy." Daemon glared at Oscar ignoring Jaerra's comment,

"Will you have our army or not?" Oscar asked making his way to Daemon,

Daemon didn't answer,

"I am in the end a Riverman," Oscar said as he walked away, "And the word of my house stands, even if ... some people are unworthy of it."

"Your lord Oscar is bold. But he is... perhaps not wrong, I may have been a touch... enthusiastic in pursuing my aims." Daemon explained as he paced once more. "But don't allow my failings, to keep you from supporting... an upright...man."

"My lord Oscar we honor the old ways, as Prince Daemon says, and the old ways call for justice to be done." The lady of a house spoke up,

"Yes. Justice has been done." Willem protested, "They who bent the knee to the usurper have been brought to heal! And now we unite... before our liege lord and our king consort," Willem pulled his sword and bent the knee offering his blade,

Oscar moved closer and held his hands to the man's offer, "I accept you as my vassal Lord Blackwood... but" he moved away, "I am lord paramount of all river houses, and there is... only one punishment for the crimes you visited upon your neighbours,"

"I did only as his grace, the king! Commanded of me."

"True... but he laid bare his base desires. But you did not have to pursue such savagery," Oscar explained, "You did it. Because you wanted to."

"Our young lord speaks truly," Lord Piper added,

"Seize him," Oscar commanded,

And the Harrenhall men came and took Willem Blackwood by the arms,

"You can't fucking do this... your grace commands them. I have only served you!"

"If his grace wishes to show contrition for his acts and to prove himself deserving of our banners, he must now rectify his grievous error." Oscar explained, "Denounce your crimes," he tells Willem, "And dispense justice."

Willen argued and tried to fight his way out,

"Oh dear..." Lord Strong muttered,

Daemon took a moment to think, and Jaerra watched him closely as he began to move and draw his sword,

"You're grace I've been faithful!" Willem begged,

But with a fast and simple swing, Willem's head was removed from his body, Daemon made his way inside with Lord Strong following, and the river lords slowly left to make their arrangements. But Oscar loomed longer.

Jaerra pushed herself off the rock and made her way over to him, "You handled them..."

"Have I just sent my lords to die?" He asked,

"...Yes," she nodded, "But that's war."

"True," He sighed, "I should have done it..."

"Done it?"

"Given out the sentence."

"Daemon is the one who doomed him long before you did,"

"...I- I admit, I have... not..."

"Look." Jaerra told him, "Long and hard, he is not the first man put to the sword in this war, and he shall far from be the last. Grow used to it now."

"You speak as if you have been to war a thousand times, we have been lucky to be born with only peace."

"Daemon is my father," She reminds,

"That is enough of an answer," He chuckled, "Forgive me, Princess-"

Jaerra scoffed, "Even calling me lady is a formality. It is not needed My Lord Tully." She nodded before she made her way towards the doors,

"Jaerra!"

She turned on her heels, "Yes Oscar?"

"... I find your father loathsome. Utterly so." He explained,

"As many do," she chuckled,

"But... truly, that does not extend to you." He said, "Not even slightly"

Jaerra smiled, "Thank you, and know that I to have no such feelings for you, I think we somewhat think the same of my father."

"I... I must ask, are you remaining here?"

"I am," she nodded, "I shall remain until my queen demands me elsewhere,"

"I- I hope she doesn't demand you, too soon."

"Neither do I," Jaerra agreed, "You shall remain?"

"Yes. With my men." He nodded, "I will set up tent with my men,"

"A tent?" she chuckled, "Should the lord not be in the castle?"

"I thought it may be mess damp in the tent." Oscar joked,

"You may be right," Jaerra laughed, "But not proper for a Liege lord to tent with his men. I will see what can be found for you Oscar."

"Thank you Jaerra," he nodded,

She smiled and headed inside the castle. 

Tags - @llynx7

[thestrangestthlng]

Thoughts and prayers rants...

So, now that I've had almost 48 hours to marinate on this and cycled through my emotions, I am in a much better headspace to talk on the whole 9-1-1 of it all.

But this bears repeating: We fell in love with Tommy because he made Buck fall in love with Evan.

So, first and foremost, I've decided that canon stopped for me at 8x05. lol. I am going to continue with my BT train like that shit show didn't happen. And for me, for a while, I am going to let the show end there. I will go back, probably after the hiatus, but not how I was. I do love all the characters on this show (some more than others) and I still want to be able to see their journey, but I need a break from that manipulation stunt. I'm still going to share all the positive BT stuff I see and all the beautiful Lou content I see.

Secondly, now that I am over the initial hurt of the breakup, I'm just mad. We were manipulated intentionally with 8x05 for us to feel worse when the break up happened. That was unnecessary. And that was cruel. And I know that a lot of this is because it was the icing on a shit week. Emotions were already raw due to the election and it was reallllllyyyy bad timing for this, but that doesn't make the way they did it okay, just that it can explain why there was such a strong reaction for many of us, on top of the completely justified anger.

Breakups happen, and that's okay. If it was the end of Tommy's time on the show, that's okay. I am a Buck girlie and I always will be. But... the breakup was reductive, stereotypical, and just poor storytelling. I get they want to leave doors open a crack, because you never truly know, but turning him into an OOC stereotypical biphobic gay man is disgusting. You had this beautiful thing and you shat on it. I am going to do another post about my personal relationship with groundbreaking storylines next.

That was a miscommunication. That was a breakup where someone chases after you and is like wtf actually just happened. It felt like whiplash, because that is not how breakups are formulated in media. You know how else you could have written him out of the story?

At the date (and the basketball tickets are actually a really sweet touch when you think about it) Tommy could have told Buck that he got a job offer in another city or state or that his parents are ill and he has to go home to take care of them and asked Buck to go with him. At the apartment, it could have been buck telling him that as much as he could see a future with him, he can't go with him.

Would it have sucked? Yes. But it wouldn't have induced this amount of rage.

For over six months Lou and BTs have been at the receiving amount of a ton of vitriol. And that's not to say that there weren't antagonizers on this side of the fence or that BTs never did anything wrong, but this isn't a both sides bullshit piece. People can suck everywhere, but only one "side" harassed an actor and his family with death threats, he read about the "stoning" calls, used slurs on a regular basis. All of this persisted for months for it to turn out that he was the only one who seemed to give a shit about the story and it's representation. There honestly doesn't seem like there would have been anyone better for it.

You know what's ironic? It was the Buddie's hate and vitriol that pulled me into fandom and made me love Tommy and then Lou. When they would run their mouths, I would look into it and I found a man who genuinely seems like (he is still someone we don't know) a wonderfully kind, sweethearted, genuine man. He looks like a bundle of light and his smile can warm even the coldest hearts. So their vitriol made me a fan. So thanks BoBs.

Buck and Tommy wasn't just about Buck's queerness and definitely not about "wanting to see two white men kiss". It was about our love for Buck. We saw him happier and more fulfilled than he's ever been. We see his life being lived and full of love and stuff and joy.

Again:

We fell in love with Tommy because he made Buck fall in love with Evan.

And you know what, not matter how reductive and all the phobics that breakup was, they can never take that away from us.

[anima-nostrae]

Why shipping is so intensely hated in older fandoms?

Because of my person being entrenched in both the Rings of Power and Star Wars (sequel trilogy and the Acolyte specifically) fandoms and conversations online, I have noticed a curious thing happening. Now of course, I am aware all of it has been taking place for a long time before that, but recently a pattern has been developing.

Notably, the hate “shipping” or “shippers” had been receiving in online spaces.

Using both fandoms I already mentioned as a sort of trial group, let me illustrate what I mean by a “pattern” - but first, let’s try to define the whole shipping thing.

The basic thing to understand about it is that not everyone would explain it the same way. I would assume the most universal understanding of it would mean “shipping” to be simply wishing for two characters to become a couple at one point or another in the story. In that understanding, this might also manifest in some people’s minds as “I want these two to kiss” as well as “I want these two to have sex.” Which is true.

Which is also a very flattening description of the phenomena.

People are shipping characters that canonically hate each other, that don’t know each other, that come from two different media altogether. People are shipping characters that have minimal interactions, but these in themselves have that specific element about them, that little umph that normal people would call “chemistry”, so they want to see more from them. Most of the time, and I do mean most of them, not all, these opinions and jokes on the internet are just that.

There was a post about it, one which I cannot find anywhere but in the recesses of my mind, but it made a point to say shipping wasn’t this overly sexual thing where the fans partook in the practice simply to see their favourite characters engage physically before their eyes, but because there was something about the both of them, some strange, mirroring quality that made their interactions simply irresistible to witness, be them anything. A fight scene, a conversation, a mention.

Ones that come to mind are, more recently, Haladriel, *Rings of Power’*s Galadriel and Halbrand-version-of-Sauron, Oshamir, The Acolyte’s main characters, and Reylo.

Of course, Reylo.

We have noticed this, yes? How, most of the time, people that enjoy dynamics between various characters are called “insane”, “stupid”, “child-like”, and how they are blamed for writers partaking in generally controversial choices because “they are just caving-in” and “pandering to shippers”?

This is a feminism - adjacent piece, and quite a short read actually!

[kafus]

why dot & episode 41 of pokemon horizons means so much to me as a recovering social recluse

when i got into pokemon horizons i had no idea whatsoever that my favorite character would end up being dot, one of the best handled social recluse characters i've ever seen in a piece of media. pokemon places such a large focus on adventure and travel, meeting new people and pokemon, so really the idea of a respectfully handled social recluse character just didn't seem to fit in with the concept. but now that the environment travels with the characters in the form of an airship, dot was able to be created and my god i love her. as someone who's been a recluse most of my life, even as a child, (i would qualify as a hikikomori and/or NEET at different stages of my life!) who is slowly crawling out of that pit, dot means the world to me.

there's a lot of good episodes that have some level of focus on dot but episode 41 in particular really blew me away and for the sake of my autistic ass desperately wanting to tell people about it i'm going to explain that here in trademark rambling fashion. obviously spoilers ahead - though not just for episode 41, i'm also going to be talking about earlier episodes a little bit. you've been warned!! if you don't want spoilers don't read below the cut ty!!

so episode 41. we meet dot's mother as the viewer who is there to pick up dot from her "trial period" on the brave asagi, learn about how dot ended up on the airship in the first place, and then at the end dot gets to have a showdown against her mother's lycanroc essentially to prove that she wants to, and can, stay permanently on the rising volteccers crew instead of going home. this is a huge turning point in dot's development as a character - at first she was a complete unknown only audible through her bedroom door, irritable to anyone who tried to speak to her, then over the course of the show she's managed to make friends with liko and roy, become a pokemon trainer, enjoy food with other people for seemingly the first time, and even caught tinkatink on her own accord pretty recently. and now this episode allows her to say in her own words that she isn't just on the ship experimentally, or because of murdock, or any other reason - she is choosing to be there and is enjoying learning more about other people and experiencing the outside world. again, this is a huge leap for someone who refused to show her face to the main characters for the first half of the show!

this on its own is already a pretty admirable character arc, one i can relate to, but i am really impressed by & feel seen by the way the writing handles her and that's really apparent in this episode. first i'm going to focus on how the writing and characters in the show respect dot's feelings despite her introversion and reclusion here.

dot's mom (blanca) is introduced to us as incredibly overbearing, to the point of freaking out and sending a bunch of angry stickers when murdock and dot don't immediately respond to her messages. dot's first response to seeing her mom is frustration instead of any level of positive response or excitement, which implies they don't have the best history, even before she actually starts talking about her past. i'm not trying to make this a post about dot's family psychology, maybe another time, but similarly to liko her situation is a bit fucked lmao (though for opposite reasons!)

the thing is - the adults around her are ALSO uncomfortable, in particular murdock, blanca's brother, which conveys a lot about the situation. she's not just some stubborn kid, there's legitimacy to her feelings, because if there wasn't the mature figures in this situation probably wouldn't also be reacting negatively, especially not murdock, dot's other relative here. from incredibly personal experience, it is so easy to wave off the feelings of a child, especially one as "difficult" and reclusive as dot, as just being some sort of phase, but already the writers are directly contrasting murdock, an adult dot is comfortable with who treats her with patience and respect, with blanca, who she evidently is not comfortable with - and they're respecting her feelings by making the adults in the show respect her feelings, too. and they're about to do a whole lot more of contrasting her mother with Everyone and Everything Else!

dot is continued to be understood and respected by the people who know her best in the case of liko and roy choosing to approach her to talk first. dot has run off to her room, where she usually is to get away from people, a very clear sign that she's struggling. liko and roy recognize this and cut blanca off from making the situation worse. which, of course they would, they're her friends and they genuinely care about her and understand how she behaves! they even know how to get her to come out her room without banging on her door and continuously yelling or something like that - direct contrast to them struggling with this much earlier in the show, by the way.

dot is happy to see them and much more willing to talk pretty much immediately, because guess what, they're people who respect her space and her feelings!!!

and once again, when blanca tries to force dot to speak before she's ready to (i mean come on you literally jumped her with this massive thing out of nowhere), liko jumps in and cuts blanca off to defend her and once again respect her feelings in a way that blanca definitely is not.

and finally, when they end up having a pokemon battle with each other...

blanca says this, yet another invalidation of dot's feelings and the way she responds to situations. this line actually made me viscerally uncomfortable, i remember the bitterness and upset i felt when i was a young person and my feelings, especially my frustrations with my parents and the way they handled my introversion, were invalidated on account of my age. "oh, it's just a phase" or "it's just because you're a kid" - just so incredibly frustrating.

and you know what that's followed up with?

dot speaking her fucking mind and kicking her mom's ass baby!!!! get her ass!!! let's GOOO. this part of the episode is so fucking rewarding. it's so good to see this character who has grown so much finally stand up for herself. she still needed a little bit of a push but that's OKAY!! the important part is that she's doing it and the narrative recognizes that! having friends and loved ones to help you out is actually a very essential part of happiness and survival!

and before i delve too far into my personal feelings, i also want to talk about a second thing here; i just find dot's characterization really relatable, like i swear to god there's someone on the writing team who must have been a 12 year old autistic NEET or something. it's literally too fucking on point, it's uncanny, i swear there's times in horizons where dot is just a carbon copy of me when i was a preteen. i mean come on:

dot flopping face down into bed after being overwhelmed in an awkward social situation and being confronted with a situation she's been trying to ignore thus far... the amount of times i have done this in my life, holy shit.

the candidness in which dot speaks about being so interested in the outside world, but being unable to have those experiences for herself as simply a voyeur. the shot of her room being such a disaster because she rarely leaves it and stuff piles up in there, including food junk,

the way she spends all this time alone cultivating skills she's passionate about and then shrugs them off as "just something she likes" when an adult compliments her on her abilities, the contrast between her confidence in what she loves but her complete social awkwardness in talking to anyone about it,

her defining herself on the internet by being a homebody, hell even her cute little freakout about the streamer she likes noticing something she said,

waking up late and missing the activities of other people because her sleep schedule basically doesn't exist while she's at home,

even just her general body language of closing in on herself and holding onto something when she's nervous, hell even her clothing choices which are so obviously meant to be as comfortable as possible for her and easy to take on and off - i could go on forever even just with this episode alone but i think you get the point. i feel so seen by how dot is just in general and it's obvious from both the plot/writing and the way dot is portrayed and animated that the people making this show understand people like me, even the type of person i was as a child, too.

all of this means so much to me because like i said in the intro to this post, i was and still very much am a social recluse. i'm a homebody. even now i still rarely leave my room, i don't eat with family often, i struggle to do things in the "real world". growing up, repeated intrusions into my feelings and my life did not help me, they only made me whiplash further into feeling distant and not listened to by the people around me. they made me want to interact with real life less. finally, as an adult, when people started to give me a bit more space, when the ways i communicate began to be respected a little more, that is when i started making genuinely close and good friendships, that is when i began to venture outside of my room and partake in small joys with people, as a direct result of being given the space and time to do so, to have my own autonomy, to make my own decisions, to be myself. i think it's incredibly easy to see someone curling in onto themself and assume they need a fuckton of intrusive pushing, and sometimes they do need a little push, like how dot's quaxly pushes her to move forward in the moment sometimes, or how liko continuously tried to befriend her, but the important part is that by treading too far over her boundaries it is no longer a productive or respectful way of helping her - it's a balance, and a balance horizons always seems to get right, episode 41 included.

it really means so much to me to see dot's journey into coming out of her shell treated with so much respect by the writing and other characters. so often recluse characters are the butt of the joke, are pushed out of their comfort zones unrealistically fast, or never actually receive the support and growth they need - but horizons strikes the balance of being candid about the type of character dot is and giving respect and space to her feelings so she can grow at her own pace, but still giving her support and little pushes when she needs them, and showing that it's possible to grow and enjoy the real world, even as a recluse. it's refreshing, especially with a character who is a child, and a girl, too! i can count the amount of times i have found a young girl character i relate to at all on one hand, and dot is the best one i've ever seen, personally! horizons has been really inspiring to me to continue to cultivate my connections with others and continue to drag myself out of my shell at my own pace with people who love me, during a really chaotic and transitional part of my life and i really love it for that. i'm glad this episode exists for an infinite multitude of reasons but i really just wanted to talk about this specific aspect for a bit and how it relates back to me as a recovering recluse.

thanks for reading if you got this far jesus christ i talk a lot LOOOL. and i might talk more about my feelings on this episode or dot in general later. i have so much to say about likodot and also about the family dynamics in this show i'm practically eating thru drywall thinking about it rn

[maddgical-boy]

maladaptive/immersive daydreaming ask game! (*¯︶¯*).｡o○O☁️

send in a number (or multiple) and if you feel like it, an accompanying paracosm/para!

(apologies for how wordy these are. i am not a man known for my brevity)

reblog and have fun with these! (and if you reblog this or send me an ask, i'll send you one too)

how long have you been daydreaming for? (bonus if you can remember: what was your first daydream scenario/paracosm?)

if your paracosm had a popular fandom, what do you think it'd be like?

do you have any paracosms that aren't huge, but that you fall back on when The Time Is Right™️?

WOULD YOU RATHER: have your daydreams projected onto a screen attached to your head at all times OR be entirely unable to daydream ever again for the rest of your life?

what para of yours is most like you? self inserts and paraselves don't count!

how did you come up with your paras' names? did they come to you randomly or did you spend hours researching name websites?

imagine your paras have at least a basic knowledge of driving (or even just like, cars). can they parallel park? (bonus points if you explain it like in this post)

do you do extensive worldbuilding for your paracosms? if you do, what are some of your favorite elements?

if your paras found out you were their creator, how would they react?

if you have a self insert/paraself, how similar are they to you?

is there any time of the day where you can't/don't daydream?

are your daydreams linear and structured, or do you jump all over the place?

what's a song you've been daydreaming to lately, and what's your favorite moment in said daydream?

do your paras age with you, or are their ages static? does it feel weird to be older than a para you were previously the same age as?

if you had the opportunity to leave this world and live in your paracosm forever, would you? why or why not?

(if you have multiple) which paracosm of yours is most grounded in reality? which is most fantastical?

make one of those "[blank] spoilers without context" memes for your paracosms. then explain it (or don't :))

who is your second favorite para, and why aren't they your favorite?

what would your paras' typing styles be like? do they use lots of emojis? sign off each text like a letter? type with lots of weird spaces and ellipses?

do you move a lot when daydreaming, and if so, in what ways?

have you ever wanted to make a piece of media of your paracosm (comic, animation, visual novel, novel, tv show, etc.)? what are elements that would be apart of it?

when you actively want to start daydreaming, what is your mind's process? do you tune back in like it's a tv show? flip through imaginary files? let it come naturally?

do you ever daydream about yourself (not a self insert, just you)?

do you have any two paras that are polar opposites to one another? (they don't even have to exist in the same universe, just in general)

what para would you absolutely hate in real life?

FREEBIE! drop some long-winded lore or some memes or whatever you want ^▽^

when you experience a daydream block or crash, what are things you do to try and fix it? (or ways you cope. lmao i get it)

for fictparacosms, do your daydreams affect how you perceive the media and/or the fandom?

if you ever write down things about your daydreams (truly anything at all — notes, dialogues, descriptions, etc), share a random snippet with no context.

if your paras had madd/daydreamed immersively, what would they daydream about?

for any pairings (romantic, platonic, familial, whatever), what is the dynamic between your paras like?

if you could make a bingo of common elements of your daydreams (paracosm-specific or not), what would be on some of the squares?

if you have tried to make your paras in character makers (picrew, meiker, etc), what is an aspect of your para that these makers never/rarely have?

are your daydreams clear in your mind's eye?

if you have multiple paracosms, what would it be like if they had a crossover?

[average-hyperfixator]

IHNMAIMS + Mouthwashing but I get the characters CORRECT DAMNIT(/lighthearted)

None of the characters are 1:1s of each other but I'm tired of people slandering Ted's name by saying JIMMY is his counterpart. (btw I wanna mention that yea ik that Ted and Jimmy have some similarities but there just aren't ENOUGH for me to say they are counterparts.) Ted - Curly ~ My reasoning: They both are morally grey characters who really just. Do not make the best decisions. However, said decisions are heavily influenced by the environment they're stuck in, as well as their less-than-perfect mental states. (Ted's. Everything. And Curly's heavily implied depression.) This doesn't justify their decisions, but it does show they aren't choosing to be bad. Both try their best to save their companions and suffer body mutilation after the fact. (Ted was actually successful in saving the other 4, Curly... he tried okay.) No I will not be taking any debate on this, if I do get into a debate about this I'm worried I'd get mad. and I prefer being filled with joy and whimsy.

Ellen - Anya ~ My reasoning: okay I don't think I really need to explain myself here, but I may as well point out how I wish Ellen got the respect Anya did. I'm so sorry these two have to be stuck with men. Moving on.

Gorrister - Swansea ~ My reasoning: They're both old and somewhat apathetic about the situation they're stuck in. (Considering the canon you're looking at they also both have wives) They're also both a wee bit rude but one can see that as part of their charm. Not much I can say here I just think they're similar.

Nimdok - Jimmy ~ My reasoning: I don't like them. Seriously I don't know why we didn't immediately shove these two together, no one likes Jimmy, no one likes Nimdok. and for GOOD REASON. (yes I am aware both have fans, I'm just hoping they're fans for non-problematic reasons) I don't care, I don't care. I'm putting them together, like I said they can't all be 1:1. If we look at the game canon for Nimdok (which is the only real characterization we get considering he's kind of just, there, in the book) he actively makes horrible decisions, he chooses to be bad. Yk who ELSE makes the active decision to do bad shit? Jimmy. Benny - Daisuke ~ My reasoning: yeah this is why I said at the beginning not everything is a 1:1. I genuinely don't think Daisuke has a proper counterpart in the story (because they're different stories!) but if I were to point out similarities, I'd point out naivety, and facial mutilation. That's all I got for ya.

anyway this is the definitive list that I totally didn't write just so I could point out the GLARINGLY OBVIOUS similarities between Ted and Curly. Nah. I'm normal.

anyway lalala back to never dropping opinion pieces on media I'm hyperfixated on bc I get way too emotional lalala

[talenlee]

Decemberween 2024 — Youtube Academia

Hey, I’m in academia, here are some people I look to for ‘how to communicate and make a point in academia and what you can use it to do.’

First up, hand over heart, this is going to have a real sampling bias. I’m going to point to three diferent academics who make stuff in spaces I can participate in and all three of them are dudes, and white enough that my dad would mostly consider them white. He’d probably be on the fence about Daniel Immerwahr. This is a problem in academia in general and it’s a problem with me in the specific: The stuff that I’ve gotten attention to, even the stuff that is explicitly about broadening my access to and understanding of nonwhite cultures and the nonwhite parts of the world is coming to me through white guys from academia. I’m not wild about it but it’s better in my mind to acknowledge it and present the sources then pretend this isn’t where I’m coming from.

Anyway, hey, here’s an essay titled Why Hip-Hop is the Most Important Artistic Movement In Human History.

Why Hip-Hop is the Most Important Artistic Movement in Human History: A Professor Skye Video Essay

Watch this video on YouTube

I think this is a good starting point for Professor Skye’s work.

Professor Skye presents three kinds of work. One is album reviews, where he breaks down and analyses components in how albums work and what they present in their messages, in a way that explicitly is not seeking to centre his interpretation but rather academically recognise a useful generalised language bridge for people like me who use the term ‘generalised language bridge.’

Second to that there are kind of larger, high-concept comparisons, where he provides a meaningful explanation to people outside of hiphop interest as to what’s going on. This led to him going extremely viral thanks to explaining the Kendrick/Drake beef this year which, god that was a thing, wasn’t it. The third thing that Professor Skye does is historical and academic contextualisation of music media. That can be things like ‘here’s iconic stuff from the 1980s,’ and it can be ‘behold as I use Proust to discuss this album.’

In each case I think there’s a sort of meaningful value to ‘doing the readings.’ Listening to the albums he talks about or the songs he talks about as and when he starts to talk about them means that each video is a sort of expository piece to accompany the text. I watch media analysis all the time of stuff I have not and never will watch, like Victorious, but in that case, the analysis is explicitly trying to present the text so you don’t need it. That’s not what Professor Skye is doing. This is not a channel trying to convince you to enjoy a thing or to enjoy the thing without the thing. It is a textual engagement with the album, and that is a really cool thing to do. You might not even have the mental muscles practiced for that at this point.

I'm What the Culture Feeling

Watch this video on YouTube

By the way, if you listen to Skye and go ‘oh hey, this is interesting and I’d like to know more,’ here’s a video essay from FD Signifier which is long, yes, but also extraordinarily good, about the same kind of topic and coming from inside the culture. If Skye makes you think ‘hey, I could be interested in this,’ then you should probably then check out FD Signifier.

Your Grammar Is Basic Compared to Black English

Watch this video on YouTube

But hey while I’m talking about language bridges (I was, honest), what about a language expert to talk about distinct grammatical differences between English (as I am used to calling it) and Black English. Language Jones is an interesting guy with a specific skillset, which is expertise in linguistics at an academic level, specifically the way your brain picks up and relates to linguistics. When you do that, you stop having to focus on formal and proper structures and instead get a lot more inclined to seeing the way language slops into the grooves in human brains and social spaces. Sometimes that means explaining to you and me what a wug is, and that’s interesting, but I find it much more interesting when he does dives like this one.

In this video, what Jones is doing is picking apart Black English into the toolkit I have in my head for understanding proper English, with terms like subjunctive and participle, and then demonstrate that the way Black English works is entirely a coherent grammatical structure, it’s not vibes or habits or attenuating with a specific person, it’s a whole other form of English and it’s really fucking nuanced. There’s a degree of fineness in Black English that is simple absent from Proper, Formal English. Formal English that I was taught is structured such that there are a host of unintuitive, hard to maintain stiff forms for completely correct conveyance of intent (“can I” vs “may I”), while Black English instead has a coherent grammatical structure that gives more fine control for intention, tense and position and the listener is there to interpret it rather than to enforce it.

This is not totally surprising, and if you talk to uh, any Black people, you probably already know this. What this gave me is a useful toolkit for reconstructing the grammar form. Really interesting stuff!

Daniel Immerwahr How to Hide an Empire

Watch this video on YouTube

Look, I’m sure I’ve talked about Daniel Immerwahr’s work in the past. I share this video from him every time I want to get people to think about American colonialism in the ways that make them uncomfortable. It’s a good talk, it uses its time well, and it also highlights a topic and the relationship of ourselves to the way things communicate their identity through their names and symbols of themselves.

Oh and if you don’t like that, check out Daniel Immerwarh’s podcast talking about the real world histories of Dune. Talks during the pandemic were restricted, but dang some of them were on wonderfully untypical topics.

There’s more. There’s always more. Dr Kipp Davis shows up when I look for academics I follow, but his interest is in Biblical studies. He’s part of the Diablocritics, which means Dr Jennifer Bird is on there, and it’s a way I can check out her work in a way that I find very accessible and interesting, and the other members of the Diablocritics are there, too.

Still, sometimes something academic is just something interesting. I don’t think Josh Worth is a doctor or professor or something. I think technically, he’s just a designer, as in a User Experience designer, that kind of specific discipline of having a clear, meaningful purpose for a visual expression. I share to you this graph Josh Worth made of the solar system if the moon, our moon, was a single pixel.

Check it out on PRESS.exe to see it with images and links!

[whysojiminimnida]

Remember When I Said Taehyung Might Not Be As Gay As We Thought?

Don't judge a man by his milfy wardrobe, he looks goooood.

It was... awhile ago. Maybe as far back as 2021 although I do not feel like link-searching it. It's in the archives if I didn't kill it.

Granted, there was a lot going on, then. There's still a lot going on and until now I had no desire to ever - EVER - return to this hellsite. Because Taekookers are fucking weird, yo. And some of y'all got a lil bit up in my shit too as I (fuzzily) recall. Which: it's whatever. I'm extremely unsocial, don't even answer my own DMs. And it's not personal, so I get it. I don't need or want to defend myself, but I will protect people I care about. With my absence, if necessary.

OT: I also totally kicked the big C while I've been out so that was nice. Yoongi the cat is pleased that his noms will continue uninterrupted. I will be in wigs for at least another year. It's all good. Oh LOOK at what we have here. Don't come at me for publishing this, I will explain.

I got it from actual media days ago, okay, and also: there was no expectation of real privacy. Keep reading. Or don't, I'm not telling you what to do.

ANYWAY. I had to come back, mainly to say TAENNIE IS REAL I TOLD Y'ALL IDK WHY NOBODY EVER BELIEVES ME BUT HERE WE ARE. I'm gloating. Honestly, it's so rude, I'd apologize if I cared. But I am rude and snorfling into my cheerios about this. Tae just made me so damn happy, is all.

LET THE MAN BE BI OR HETEROFLEXIBLE OR EVEN STRAIGHT IDC. Jennie clearly makes him happy. Look at his "I'm going to Paris to see my girlfriend" face!

And in that very specific jewelry look, no less. Foundrae. Again. Still. Hm.

Here's what I can tell you based on my limited third hand no sources no receipts this is probably utter bullshit usual disclaimer: It's a soft open, kids. This whole "oopsie we just so happened to get caught taking a lil walk in public with our managers in tow during which date at least one of us signed several autographs, what a surprise" is in fact a soft open for what will likely be a public confirmation PRETTY DAMN SOON. It might happen before I get this thing published, actually, depending on when I get it up. If it's before May 22 at noon my time, no idea. If after, well. Guess we'll see. Jennie's supposed to show up at the screening of HBO's The Idol that day, screening at the Grand Lumiere at 10:30 CEST. One wonders if she will arrive alone, or bring a plus one. It's a big ask, and if he does it they're probably getting married, that's how big a deal it would be. So I'm not holding my breath, but.

This seems like a reasonable prospect for a plus-one viewing. Might not be the only one but... Jennie's IN IT so.

I'M NOT SAYING THIS IS GONNA HAPPEN. I think it would be a fucking POWER move if it did, but I also do not necessarily expect that it will. It COULD. It... MIGHT. It might not. Either way they're a thing, I'm telling you. They are, have been, a thing. For awhile. And it is apparently quite serious - like up to and including talk of engagement serious.

Remember when a bunch of folk thought that one gummy bear dude was going to jail for "hacking" Jennie's phone only there's been no actual movement on any "investigation"? Yeah. Trickle truthing, they call it. Give 'em a little bit, let them deny it and yell and chew on it for awhile before you give 'em a little more. But c'mon, nobody's wearing half the love-themed couple pieces at Foundrae for no damn reason.

Seriously they got the whole collection almost and both have been seen wearing them almost exclusively. For a year.See airport pic above.

Look, I don't have inside info on Taehyung. I do not. I ain't hang with his friends and I don't know him personally. Never met the guy. But I know a PR move when I see one and this is exactly that.

We all know how toxic stan culture can be. Some ToadlicKKers (and a few of us house elves) are certifiably bonkers, if stan twitter is anything to go by. And the guys, the company, they expect a whole meltdown. They know this is not gonna make half their fans happy. I mean the tkkers have a point in that it looks like they wanted to be seen. BECAUSE IT'S A SOFT OPEN. What Taejen/Taennie/Jenhyung and the companies also know is that based on historic shipper behavior, this is gonna come back on Jimin, Jungkook, maybe Rose' and Lisa. And by extension, the other members. Maybe not as much due to their respective distance, but still. I bet by the time I finish this it will have already started.

Oh look there it is. Fuck those bitches, really.

Good LORDT. I'm not adding the audio, if y'all are that hungry for psycho hose beast Jimin hate hie thee to stan twt.

But, totally off-topic kinda...

... wouldn't it be cool if Jennie, who speaks great English, was hanging out with Troye Sivan and was like "so you know my boyfriend tells me that his bffs..." I'M JUST SAYING NETWORKING IS COOL AND FRIENDS OF FRIENDS GET THINGS DONE OKAY.

You know that girl has the scoop. If Tae knows it, she knows it. Oh heeeeyyy Troye.

Also OT: I love that Taekook have been hanging out a little more lately. It's refreshing. I genuinely think having Jennie in his life has been good for Tae in several ways. And you know, I'm kinda surprised Taennie has lasted this long. I didn't honestly think they would. It warms my decrepit, sad old heart a bit. Turns out I have a lot more to say so IDK IDK, if I feel okay about it I might be back. Right now I'm just waiting for the official Taennie nod and the continued total meltdown.

[whoishotteranimepolls]

This blog is really fulfilling my near constant need for long lectures over fandoms that I never really get to flex out huh? I'm going to start making powerpoints. Alright, time to explain Ivankov and Bon Clay with a quick history of the LGBTQ+ community in Japan. Disclaimer: I am not Japanese, I am from a western country, but I will try to do my best to summarize the history and connotations to the best of my ability. I also do understand that some of the genderqueer characters do seem to be based on stereotypes, but that will be explored.

Okama is slang interchangeably used for gay men, drag queens, gender nonconforming men, and transgender women. It is very similar to the English word "Queer," especially in the idea that current members of the LGBTQ+ community are attempting to reclaim it as a positive phrase, rather than the slur that has been used against them. A large part of Japan still conflates gay with crossdressing or transgenderism, which is why homosexual men are sometimes referred to as okama (literally a 'pot' but meaning something similar to the English word 'queen') and are usually represented as cross-dressed and effeminate. The use of the term okama derives from the slang usage of the term to refer to the buttocks and thereby to anal sex which is considered to be the definitive sexual act engaged in by homosexual men. Homosexuality in Japan has had a fraught history that I do not have the character space to completely include here. Bon Clay is a character that first appeared in One Piece in the year 2000. Now, I know a lot of modern day fandoms do not understand the history of queer characters in media. This was long before we had shows like The Owl House, Steven Universe, Yuri on Ice, or She-Ra (I can't think of a lot of modern queer anime off hand). We had very little canon queer characters, at at the time, it was far more common for queer characters to either be women (Sailor Uranus, Utena), or male villains. And Bon Clay was not only queer, he was an out and proud Okama. He was referred to both as a man and a woman, and sang an entire song "Okama Way/Oh Come My Way." Bon Clay, despite being a villain, got a redemption, he befriended the Strawhats, and helped them to escape from Alabasta, even though he himself was sent to jail instead.

“One may stray from the path of a man. One may stray from the path of a woman. But there is no straying from the path of a human!”

In the end, this world is broken down to men and women But I'm a man who is a woman So I'm the best (the strongest) The best (strongest!) OH COME MY WAY

Emporio Ivankov

As Mod pointed out, his design is based off of Doctor Frank N' Furter from Rocky Horror Picture show and Norio Imamura, a real life Okama and a member of Mayumi Tanaka's acting troupe whom Oda met. Ivankov is gender fluid and uses their fruit to switch between whatever sex characteristics they want to have. Ivankov refers to himself as a "Newkama", as opposed to an "Okama". This is a double pun made by mixing words. It basically goes "Newhalf" (Transgender) + Okama (Crossdresser) = Newkama (Newcomer). Newkama claim to go beyond the concept of gender since almost every one of them has experienced life in both male and female bodies thanks to Ivankov's Horu Horu no Mi. Also, there is a question on what pronouns Iva uses, with in the Japanese text, they appear to use something like Neo-pronouns, always replacing the first character with a V in the pronouns they are using (Vatashi vs Watashi for "I" but I do not know enough Japanese to speak on this or how their pronouns should be translated)

She was the queen of NewKama Land in Impel Down, a secret haven inside of the prison where prisons escaped to. (This is why Mod jokes that One Piece fandom took over Horny Jail, we have a gay club in our jail in source material that was created by a transgirl and maintained by genderqueer okamas. We cannot be stopped). She is also a member of the Revolutionary Army, (MANGA Spoilers: A former slave), and Queen of Kamabakka Queendom, a place where okamas can be free to live their lives with no criticism and to just, be themselves.

Now, I understand why the artstyle turns people off and makes them seem like harmful stereotypes, and they aren't always treated well in the story. While Luffy is extremely accepting of Ivankov and Bon Clay (The only people in the entire story he refers to with honorifics are them, and he uses female honorifics, Iva-Chan and Bon-Chan), Sanji has shown to be pretty transphobic. But I also think that they encapsulate the messages of One Piece: Complete and Utter Freedom. The Freedom to be true to yourself, to live your authentic life, and to live without regrets. These characters are not only strong, respectable, and free, but they fight for that freedom for others as well.

There is no queerbaiting in One Piece. The only canon LGBTQ+ Identities we have are the transgender characters, probably attributed to Oda not wanting to write romance, and thus it is harder to make canon gay/lesbian/bi ect characters. Luffy, on the other hand, is argued heavily whether he's canonically aro/ace, or just heavily coded. We have other queer characters as well, especially in Wano. Kiku is a transwoman, and Yamato is a transman. Bon Clay, Ivankov, Inazuma, and other "Okamas" are genderqueer, although the identies may not translate nicely into English. Some of it may not have aged well as well (The use of "Transvestite" for example). But overall, the LGBTQ+ Identities have been respected by the narrative of the source material if not necessary by the characters or author. (And definitely not by some fans). Its also important to remember, Bon Clay was introduced in 2000. Kiku was introduced in 2018, that is nearly 20 years to learn how to depict trans people. She has no gags, she just exists as she is. Oh, and none of the queer characters die in the series, and Bon Clay even has the quote "Queers will never die!"

(Morley should probably be added to this analysis, as a transgender woman who pretty controversial, but she doesn't appear much in the manga/anime so I don't know a lot about her lol. I'm also not going to touch the "debate" of Yamato's gender here)

Sources: Male Homosexuality and Popular Culture in Modern Japan

One Piece: A Queer Retrospective

For context, they are responding to this post about Emporio Ivankov and Bon Clay

Well done! Great job! You deserve a cookie. Because this is why I love Defend Your Blurbo. Emporio Ivankov and Bon Chan would be proud of you

Fun fact, the horny jail reference actually comes from the bg3 fandom and the narrator outtakes. I just think it's very appropriate for the One Piece Fandom at least when it comes to my blog and what you guys have put me through

[themememerchant]

I'M WATCHING GRAVITY FALLS FOR LIKE THE 13TH TIME AND JUST-

WhY??? IS NOBODY TALKING ABOUT CARPET DIEM???

Like, this episode was so fuking good!

Like-okay, I get that it's just sort of early show filler, but it's fucking amazing filler!

This episode had what I would consider to be some of the best jokes and one-liners in the whole series, and I've seen some parts in compilations here and there, but I feel like we collectively sleep on some of the raw chaos this episode brought!

Here are all of my favorite bits:

Dipper somehow hitting Stan in the head with a golf ball from the attic

Dipper having his leg gnawed by a wolf compared to staying with Mabel and her friends: "...This is still better."

Grenda walking out of an empty closet: "I don't know what I was kissing in there, but I have no regrets!"

Mabel poking dipper with a random twig: "Get ready to be poked by the fun stick!"

Dipper: "Washing clothes is a waste of time! I'm a busy guy!"

Mabel: "I'LL KILL YOU!!!"

The entire scene when Dipper and Mabel start freaking the fuck out over switching bodies

Dipper giving Stan a sandwich made from literal rocks after he ate an omelette shaped like his own face

Soos: "Nobody thinks it's cute when I lie naked on the living room floor."

Wendy just going:"Nope!" And walking away after seeing waddles screwing around with Soos' body

"I'm a creature of the night-But I'm also a creature of passion..." From Grenda's age-inappropriate romance novels

Stan choosing to step up for once and explain the birds and the bees to Dipper, unfortunately, Mabel was the one to receive "The Talk™" under horrible circumstances

Mcgucket finding a random talking pig in the streets, pulling out a knife and a fork from his beard, and proceeding to chase said pig across all of downtown in the hopes of a free meal

Waddles as Soos convincing Stan to give him a raise after Stan originally wanted to lower his salary

Candy switching bodies with Dipper for no reason other than she wanted to and Dipper being so done with everything

Mcgucket: "Come back! I wanna deep fry yer ears!"

Mcgucket as Candy: "I'VE REGAINED MY INNOCENCE!"

Dipper: "Well, I guess I'm a pig now. So that's a thing..."

- *proceeds to gnaw on an apple core*

Sheriff Blubs and deputy Durland presumably following a talking pig and a rabid old man to the mystery shack under the pretense of "-reports of excessive giggling."

Deputy Durland running into a wall five times for no reason after swapping into Dipper's body

Mcgucket threatening to eat Soos after everybody swapped back to their original bodies

- Mcgucket was really on point in regards to comedy this epsiode

Stan once again being hit in the head from a wayward golf ball

- Stan: "Why am I even out here at night?!"

The fact that Waddles, as Soos, somehow: gave a woman directions, presumably flirted with her, proposed to her at some point, and made his way back to the mystery shack in the span of what couldn't have been more than five hours tops

And that's all I can think of

I think I'll make this a regular thing, where I share my favorite bits and jokes from underrated pieces of media

IDK, maybe my sense of humor is just broken...

Either way, I have to go now, my planet needs me

Auf Wiedersehn, all ye rat children of the holy grail.

[hopefull-mindset]

A Much Needed Overview

I’ve been brought to a point of feeling the need to discuss the abuse depicted in Bungou Stray Dogs. This isn’t the brightest topic to speak about and I understand why people are reluctant to speak in detail about something as serious as this. It’s not easy, so I’ll be the brave face today because I feel disappointed about the lack of deep discussion beyond the popular topic of “The Abuse Cycle”.

I’m happy that it’s at least brought up amongst everyone as something that exists, I’m happy that people feel as though it’s something to talk about, but I don’t think most understand how to act about it. It’s never as cut and dry as how it’s depicted in most other pieces of media or how people speak about it in general. That is why I am thankful for its depiction here. Not saying that nobody speaks about it with clarity, but it’s not the majority, unfortunately.

I especially felt this was a good time to address this because of the reaction towards Asagiri’s thoughts on Dazai and Akutagawa’s relationship in the recent magazine interview. The outrage is not from nowhere, I was also taken aback at first, but to claim Asagiri “doesn’t even know his own story” is incredibly self-entitled considering the story isn’t done, nor are you the one writing this. If you read the story, no way is Asagiri justifying anything that happened. Please look at the question that is being asked, does it say “Do you think what Dazai did is morally right?” Of course, it isn’t.

Not to be rude but before you start questioning the writer himself if he’s read his own story, have you read it? Please keep in mind the fact this is only a magazine interview and doesn't reflect every nuance. Asagiri doesn't need to go “Oh yeah, this thing that’s bad is bad” every two seconds to explain himself. Asagiri’s writing decisions can be questionable and cannot be uncritiqued, but I’m going to have to defend him on this account.

I’m not sure if any warnings are needed concerning the subject matter considering most BSD fans know what I’m about to go over, but to be clear, please only read this when you’re in a well enough headspace for heavy matters such as this. I am not going to be talking lightly in any of this or dance around what’s happened between any of the characters, abuse is harder to talk about compared to other acts of violence that are objectively worse because it’s a more personal act that too many can find themselves in.

Finally, I do not want to speak about my own experiences online because I’ve only come to terms recently with it and they do not reflect everyone’s response to depictions of abuse in all media. Some things are very uncomfortable to admit about me that I haven’t told anyone, that no one would be able to take well even if they were my closest friend. This isn’t about me at all and there is no point in saying more about my reality, but I think my perspective might help people enlighten themselves on how truly complicated situations like this are.

What is Abuse?

Surprise, we need to go over this before any discussion about BSD happens because a lot misunderstand what abuse is. It's disheartening that the term has been so simplified that nobody knows what it means anymore. Don't substitute words for abuse or use abuse as a substitute for other terms. Abuse as a concept is quite hard to pin down with words and there are many ways to describe it, but by definition in the context that it’s directed to another person, abuse is:

To target and mistreat someone, causing them harm or distress in a repetitive manner

This by itself does not describe the grand scope of everything and probably might make you more confused, but it’s a great place to start and does describe what is directed to the victim. Many sources will use varied wording, but it’s the general knowledge that someone is being hurt to a fundamental level that makes it abuse.

Does the abuser need to intentionally hurt someone for it to be abused? Yes, but not in the way you think. Most abusers are not hurting their victims for the sake of just hurting them, that’s illogical, they’re doing it for something. Some examples include either for themselves in some way or what they think is for their victim’s “own benefit”. Even worse is when they genuinely believe it because they’ve also grown up in an environment that has that same mentality and reflects on themselves.

So yes, it’s intentional in that they’re doing it for a purpose. No matter their intention though, “selfless” or not, it’s still a selfish act in itself that they think that imposing their own will through harmful methods is what the victim needs. The abuse doesn’t need to be physically harming another for it to be abuse. As long as it’s harming you emotionally or otherwise and making you raise flags in your head, it’s abuse.

It sounds strange, but I'm saying it’s intentional because you’re still an intended target of their abuse whether they realize it themself or not. Abuse needs to repeat a form of distress in you to be abuse. For example, does one instance of physical violence against you count as abuse when it never happens again? Well, you need to think about the context. Usually, this would just be assault and that’s it, but is it left hanging in the air to happen again when you interact with them? Do you feel afraid for your well-being, even though it doesn’t happen again?

That’s still abuse, the psychological kind. Typically when abusers resort to physical means, it’s gonna happen again eventually. In this hypothetical instance, however, the point is that repeated distress does not mean repeated actions. It does not need to happen the same way for you to feel unsafe, it just needs to have power over you. Manipulation does not always equal abuse either. It’s a tactic used by abusers, but unless paired up with other actions, it doesn’t fit the criteria of abuse. Context matters when you examine what abuse is.

Here comes the tricky parts that are acknowledged less: When the abuser is someone you’ve relied on in your childhood, in a detrimental part of your life, or someone you care about that you put importance in, and it makes it hard to fully hate that person. What the abuser has done to the victim does not entirely reflect them as people, even if it’s still an important part of them that needs to be addressed.

Abusive people are not only defined by their awful actions, they’re not pure monsters like most love to pretend they are. It’s just easier to think that because accepting that they’re just a multifaceted human being hurts too much when you’re on the receiving end of their worse behavior. But what happens when you’re on the receiving end of both? You try to justify it the way the abuser is because you can’t accept that what’s happening is bad and not something everyone goes through. After all, they treat you decent enough sometimes.

Something so many people need to get into their heads already is that abusers can be victims and vice versa, but just because your abuser went through something themselves or is important to you, doesn’t mean you have to forgive them. Abuse is not forgivable just like that, you can rebuild a relationship beyond that if you’re able to, It’s not a “forgive-and-forget” thing.

Not everyone experiences and responds to abuse the same way, some hate their abusers fully, some can’t bring themselves to, and some don’t even know what to think, but there are so many who don’t feel one way that regarding all abusers as heartless monsters completely invalidates so many stories and their difficult experiences. I have a huge grudge against people like this who restrict abusive situations to just looking like one thing, this is why so many don’t even know that their situations are abusive.

Portrait of a Father

Chapter 39 reflects my points the most, and at the same time, it also turns out to be one of the most controversial chapters. It surprised me that it is, but maybe I shouldn’t be considering how most people on the internet act about abuse. It’s a lovely chapter to me personally and one of my favorites.

If you need a refresher, this is the chapter the Orphanage Director died in and leaves Atsushi in an emotional frenzy about what to think and believe. I know that the underlying message of this chapter is confusing to some, but it hit me in the face point blank on how this is about facing your abuser’s death without any personal conclusion with them.

Being sent on an investigation, Atsushi, after finding out the body was the Director, is stunned and scared because he knows nothing of the director other than his cruelty. He immediately assumes the worst and that he was coming after him again. Atsushi’s thoughts against him are entirely… on purpose in the director’s intentions because we find out that he has gone through so much violence and loss himself that he’s projecting his own will onto Atsushi and making sure he’d “survive in the real world”. So he became his first figure of hate and violence earlier in his life so he’d be “prepared for what comes next”.

I know so many take the backstory for the director as a way to justify what he did to Atsushi in the narrative, but it was just to put into context why he was so cruel. Abusers are never cruel for no reason, that never makes it right, but it’s reality. Atsushi was not the only one in the orphanage who was treated badly, he was singled out by the director most likely for an ability he couldn't control because the headmaster knew he’d get the most trouble for it, and unfortunately… he was right.

Akutagawa being his informant in this chapter makes perfect sense. He can see that what the director was for Atsushi is what Dazai is for him. No matter how terrible their actions were, it’s what kept them alive for so long. It’s not pleasant to confront, is it? Atsushi agrees because when he gets the information that the Director was going to congratulate him with the flowers he was going to buy by selling the gun he had on him, he freaks out. No way the guy he was raised so long to hate, the guy who put him through so much suffering, was going to congratulate him.

I know to some, Dazai’s talk with Atsushi sounded like he was justifying what happened because “it made him a good person in the end”, but that’s not what’s being said. This conclusion I’ve seen some people come to about this conversation confuses me. Dazai is just saying the obvious, you guys get all shocked and it weirds me out how easily it’s been glossed over that the reason Atsushi is so self-sacrificial and trying to do the good thing is because of the director. The reason he puts himself so much on the front lines is because he needs that worth in being good to live and prove the director wrong, he was raised to see that type of person is the most ideal person to live in this world.

After everything that’s been dumped onto him in such a short time, so much inner conflict of what to think of a dead man he no longer can have any personal closure with, he asks Dazai what face he should make, what he should think at this moment. Dazai tells him that they’re his emotions and he can think however he’d like, but commonly someone cries when their father dies. So he cries, because ultimately no matter his treatment, no matter the intent and its effects, it’s still the man who raised him. It’s flawed, but that’s what a father is stripped bare at its core definition and that won’t change no matter your feelings.

Now that I’m done summarizing this chapter and making sure you guys understood the point and how it spells out their relationship, I can finally talk freely about what was happening between them. When it comes to familial abuse, generational trauma is so prevalent it’s hard not to talk about. The director is quite reflective of so many parents who were raised to grow up too early in harsh environments, that they think they need to prepare their children for it too, even though it’s no longer needed.

You don’t need to like someone for them to be important to you, especially if it’s a parent in your life or someone close to that. That’s why Atsushi cries. He cries for the director, he cries for himself, he cries that it’s finally over, he cries for the kindness he could’ve gotten even if it wouldn’t have fixed anything, he cries for the father that never was, he cries because his father is dead. It’s perfectly normal to keep someone close in your heart that wasn’t perfect and to grieve their death.

Was the director successful in what he was aiming for? I want to say no, but he did. He succeeded in making Atsushi think of others in a good light and do good for them, making Atsushi resent him, and giving him the ability to keep going. Hell raised him right, but it was still hell. The problem is that his teachings were based on degrading Atsushi into being nothing but a life he should put aside in favor of others. Even if he continued hating the director like he wanted, he would still degrade himself for being a coward who didn’t hold himself to those standards. The result is not perfect because the director is not perfect, but in his position, this is a success.

The director for a while was his shadow of negative encouragement when he joined the agency, what kept him going in those moments, because he was what defined good, bad, and justice for him in his entire childhood. Even if he was dead, he’d still linger in his mind. I can’t parse out what to think about these hallucinations forming Akutagawa and Dazai to guide him later on, all it tells me is that he still can’t rely on or trust himself and he needs more development in his self-image issues.

I see why fans are confused, hell raising us right is a bizarre thing to say to a victim, so let me show you a perspective you're not seeing. Let's imagine you have an abusive mother who only wants you to be prepared for the things you're undoubtedly going to experience because of what you can't control. What she did does help you, but all that goes through your head is “Why couldn't she have done it differently without my own suffering?” The only thoughts that come rushing back when you think of those memories are the unnecessary pains. It takes a lot for a victim to acknowledge this on their own, they want to push back at the past so they don't have to see this plain reality.

Like anyone else that I’m going to bring up in this post, just because the abuse made them who they are or affected who they became, even when it keeps us going through life and benefits us in some way, does not make the abuse justified. Abuse is still abuse, I addressed this already and I hope not to address this again. I needed to detail an explanation because it’s quite easy to hate a man you know nothing about and has been painted in nothing but a bad light. The anger against the director is undebatable because abuse is not debatable, but to pretend the cruelty was nothing but for cruelty’s sake is mischaracterizing both him and Atsushi.

You can’t pick and choose what’s been told to you in the text just because you don’t like a character and lack the maturity for it. It gets quite hard to do that sort of thing when it’s a character you‘ve grown to care about, it’s no wonder Dazai is divided between so many. Speaking of Dazai, his involvement in this makes as much sense as Akutagawa’s. He’s currently in a mentor position for Atsushi, no matter what Akutagawa says, and shows interest in his development. So of course he’s going to purposely stick his head into something that would affect Atsushi greatly. Both Akutagawa and Dazai are viewing this through their lenses as people who grew up in the darkness of society, and it’s not that Dazai thinks what happened to him wasn’t terrible, you should have eyes to read the panels provided, but he’s generally unfazed and able to sound neutral because he’s used to that cruelty.

The Port Mafia’s Environment

(Aka: is it really “all Mori’s fault” or is it just the product of being literally in The Mafia™?)

I’ll go over the “Cycle of Abuse” in a second, but please keep in mind that you can’t just blame everything on Mori. Just like the Director, it’s so easy to pin the guy who’s just been the worst for every problem there, but it decimates the other characters involved as well and makes what they’ve gone through go flat because you’re restricting it to a misinformed presumption.

To make a bold statement, I need you to completely throw away your idea of what the abuse cycle is. The Mori to Kyouka pipeline being the singular “Abuse Cycle”? Garbage, needs to go away too. I've seen many fans use the term “Cycle of Abuse” too carelessly, and while from afar the way they're using it is not technically wrong, they have the wrong thought process behind it.

The Cycle of Abuse is simply the patterns of what keeps us in an abusive dynamic and negative mental state, either with an individual or environment, and makes it incredibly hard for anyone to leave. It’s not the actions you take that make it the Cycle of Abuse, and it's not just one straight line of people going through similar motions. You don’t have to be someone’s abuser to be the one who keeps them there, if you feed into it you’re still a problem. Even if you don't actively add to it yourself, just staying there as a bystander and not trying to do anything to change it or speak up for the victim when you clearly could also still make you responsible. Just with your presence, it validates what they've gone through as normal.

If you need more of an explanation, two opposite examples include Higuchi & Akutagawa and Beast Kyouka & Atsushi. Higuchi is a traditional example in that she stays in the mafia because of her relationship with Akutagawa, and stays by his side for reasons unknown. What we do know is that she’s incredibly indebted to him enough to care for him to an extreme extent, but their relationship is abusive all the same. Beast Atsushi and Kyouka sounds strange for me to bring up, but this is an example of a non-abusive person contributing to the Cycle of Abuse. Instead of taking her out of an abusive situation, he brings her back in.

Many characters are a part of this main narrative of abuse in BSD, so it's not inaccurate to say Mori, Dazai, Akutagawa, and Kyouka are a part of it as well using this definition as all of them are the reason or contributed to why someone was stuck in a negative, abusive situation or the victim themselves. I’m guessing none of you are genuinely referring to this though and are referring to intergenerational abuse, a repeating cycle of younger generations taking after their abusers when they're older, which is a completely different phenomenon. Both are referred to as cycles and have many commonalities, but it’s not the same. Not to sound like a total dick, but this barely even applies to them.

Not because the concept is based on familial relationships, it can happen with older figures in your life too, but because our oh-so-famous Abuse Cycle gang does not have that commonality to make that claim. They have narrative parallels, but that’s pretty much it. I will save what I have to say in their sections, but Mori and Akutagawa did not abuse Dazai and Kyouka respectively for this type of claim to have any legitimacy. Kyouka certainly broke a cycle, but not that kind since that would need her to continue it in the first place and then prevent her own experiences from even affecting the next child.

What do all Mori, Dazai, Akutagawa, and Kyouka actually have in common? They are/were in the mafia, using their natural talents of cruelty for the underworld.

The Port Mafia resembles something of an abusive household or community that sees so much of what’s done to others there as normal, and constantly compares it to how it was with their old boss and thinks, “At least it wasn’t as bad as that.” It’s quite like the Orphanage Director’s thinking but on a larger scale. Does that make everyone in the Port Mafia abused? Nope, unlike most abusive communities, the Port Mafia is quite literally the mafia. Everyone is there for different reasons, at different ages, and different experiences. Everyone is taken advantage of in these situations, no matter the circumstances, but it doesn’t make them abused automatically.

So it’s hard to have a stance on anything about them being abusive other than the mentor situations in the Port Mafia don’t see abuse as abuse and just another way to teach their subordinates to survive in their world if they deem it necessary. Was Chuuya abused, either by Mori or Kouyou then? I’m going to have to say I can’t tell you that. We don’t have enough information on either of his dynamics with them to say that they’ve directly had any repetitive behaviors of direct harm against him specifically, and there's no reason for them to do so either. I’m not going to use the argument that “Chuuya doesn’t hate or fear them, so that must mean he wasn’t” because again, that type of response does not reflect so many situations.

Chuuya was still harmed by being in the Port Mafia as a teenager because nobody should have been surrounded by this much cruelty at that age. It doesn’t matter if he shows visible distress or not about the Port Mafia, he was just desensitized to it since his sheep days. So was he an abuse victim under the idea that being a child in the Port Mafia is abuse? That depends on who we’re speaking of, but in Chuuya’s situation, I'm going to have to say no as he's already internalized their mindset from his own experiences separate from the mafia. Keep in mind that it also still holds true that you can find family in situations like this, it’s not mutually exclusive. Some just find more comfort in what they’re used to than what would be better for them. Kyouka is a better example of someone being a victim of an abusive community.

A false claim I've seen made many times are the ones where they have it as if Mori is the mafia itself or that he made the mafia what it was. It shouldn’t be too surprising, but it’s the opposite. Mori already held flawed, heartless, calculative methods when in situations he thought required them. We’ve seen him as a soldier and an underground doctor, but we know nothing else about him outside of his cruelty, just like the headmaster. What he does is never for what he thinks is for his benefit, but for the sake of something larger. Whether it’s for the city, the country, or eventually, the Port Mafia.

The mafia is the first time he’s been put into a position of absolute leadership and is not yet accustomed to that at the beginning of Dazai, Chuuya, Age Fifteen. He’s able to quickly fit the mold of a mafia boss, but there’s that bit of honesty that peaks through in this light novel in the first and last sections that’s ignored too quickly. First Mori complains about nothing going immediately right, questions himself about Dazai, and becomes genuinely stressed if it was the right decision to involve him, then confesses that he sees himself in Dazai to him (and him and Fukuzawa in Soukoku in private), and finally gives his honest take of leadership to Chuuya.

I already go over Mori as a character in one of my other posts and will speak more of him later on, so I don’t want to reiterate the same points, but here we have proof he has (albeit poor) humanity. He did not become the Port Mafia boss for his own selfish gain of power if you’ve forgotten, but because Natsume introduced him to becoming part of the Tripartite Framework to protect the city he loves, it’s where he’d excel best in this plan. The Port Mafia was already a shithole, Mori just made it livable again by becoming what an organized crime group needs.

It’s what makes the dynamic between Kouyou and him so intriguing because you have an abuse victim who has embraced the environment she was forced back into, but won’t let go of someone who’s proven to be more of a decent leader than her tormentor and can be relied on. For victims who couldn’t get help or realize they needed help, the easier path is to accept this is your life through some justification. While I said the Port Mafia resembles an abusive community, communities as such aren’t purely terrible and that’s what keeps them justifying it in their head. The family you have for yourself, whether it's a made one or the one you're born with, is what sticks for you.

Like it or not, Mori isn’t stupid. He takes risky gambles that backfire on him sometimes, but he’s good at his job. He’s brutal enough to prove his own against the people who didn’t think he should’ve been boss and outsiders who want to go against the Port Mafia, but he’s considerate enough towards his people and shows enough competency to be perfect for the job. He’s not a great human being, but what did you expect? He no longer had any room to express that humanity, he never had; there was no benefit from being a good person in his line of work.

The Heartless Cur

That looked like a great segue to talk about Dazai and Mori’s dynamic, but it’d benefit to go over Akutagawa first. For those who do acknowledge it as an abusive situation, Thank you for at least taking that step. Numerous don’t and it worries me at the state of what’s considered abuse vs. training. It may be both at times but don't excuse one for the other. Training needs formal consent and communication at some point during a session. Akutagawa is learning, but it’s the same as getting yelled at as a child for not doing your homework right, when again, you’re still just learning.

It might’ve been easier to see for those who do acknowledge it because of the visible physical abuse that happens, but let's not undermine the psychological abuse happening as well. Dazai has messed with his psyche on an abhorrent level through his degrading and threats, making him reliant to hear a single word of acknowledgment from his mouth. What happened to Akutagawa is beyond the mafia’s environment.

Akutagawa does not hate or want Dazai dead for what he’s done to him, but he does hold anger at the seeming abandonment he’s been put through… and at himself as well. Anger that he couldn't get to what Dazai wanted him to be before he suddenly left. So he proves himself by climbing the ranks and becoming someone feared. Spectacles of violence not because he enjoys the feeling of other’s suffering or the power over them, but to show Dazai that see? He's still worth looking at!

He stays in the mafia because he’s found a place there. Even if he could, there was no point in leaving the mafia after he disappeared because what would be left for him if he did? He will always be an unchangeable, horrific hound of the dark and there's no changing that in his mind. From an inference of his actions in the dungeon when they finally reunite one-on-one, he wanted to believe that he was above Dazai after all those years, but Dazai doesn't act impressed or scared or anything. After all that effort, he gets nothing but ridicule and mockery like he's back to being that little kid with an oversized coat too big for his body.

Worse is that he gets told that some new kid Dazai picked up, who didn't train to the extent he did to refine his abilities, is better than him somehow. He gets riled up and at first, takes out on Dazai, but all those threats about killing him and how he went against the mafia were empty. Even now he can't bring himself to hate Dazai, he needs his mentor to acknowledge him no matter what side he's on. He never let go of Dazai, his coat is proof enough of that. So he takes it out on the party that isn't responsible and is convinced he needs to overcome Atsushi to prove something to Dazai.

He doesn't hate Atsushi, not genuinely. He does the same when he’s told he’ll never compare to Odasaku, someone who objectively should’ve been the weakest member due to his status. He gets angry at Dazai’s words, gets angry at himself, then takes it out on the person mentioned, rinse and repeat. I’m not sure if I’m the only one to notice, but he genuinely believed that the meaningful life Dazai gave him laid in the mafia and being useful to its cause. He has no reason to be as loyal to the mafia if he didn't think this.

Dazai’s acknowledgment means more than just appreciation for his skills and strength, it means his life meant something by striving for being the strongest. It’s not about the acknowledgment at all. Whenever he critiques and shames Atsushi for how he lives his life, it just feels like he’s unknowingly shaming himself through him without having to acknowledge his wrongs. It makes me curious about how much the acknowledgment itself even matters to him and the validation it gives him to strive for this is an excuse to keep living so what he’s doing in the mafia even matters in the end. What counts as acknowledgment to him?

He's convinced his faults are what made Dazai turn away, he just doesn’t know how to do anything to fix it and can't fix it this late into the game. What does Dazai want from him other than being stronger? When Dazai directly asks him to do something important involving Atsushi, he’s confused. He has no reason to trust him to do these missions. He’ll take the chance to prove himself once and for all, but to be included means he's being acknowledged, so what gives? The number of times he visibly self-reflects can be counted on one hand because as soon as it shows, he goes back to justify his violence and ignores his faults.

As someone whose favorite character is Akutagawa, I’m disgusted that all people can take away from him is “Akutagawa is an obsessive fanboy that deserves no sympathy because of what he did to Kyouka” or “Akutagawa is a poor, miserable man that didn’t deserve what Dazai made him into and should be absolved of responsibility because it’s all Dazai’s fault”. Both are very shallow and very harmful to perpetrate as they continue the idea that a person can only be the abused or abuser. He's both and it's okay to admit that.

Quickly let’s clear up this: He is not the way he is because of Dazai.

What Dazai IS responsible for:

Akutagawa’s need for his constant approval and recognition

Akutagawa learning to hone his ability

Akutagawa’s toxic views of being useful

The reason Akutagawa’s still alive

The reason Akutagawa is the Mafia’s dog

What Dazai is NOT responsible for:

Everything else

Akutagawa’s lean toward violence, his one-track stubborn mindset, and his lone-wolf attitude are not a product of Dazai’s treatment, he’s always been that way because of his time in the slums. He got beaten down by adults frightened of his empty gaze, had to learn to protect himself and find something to eat to survive, helped take care of his sister Gin and his friends by himself, and everyone constantly dying around him. That’s the real reason his personality is like that. He is a victim of his circumstances in a society that deemed him worthless, so he also thinks of his life as worthless. That’s why Dazai means so much to him.

Dazai did not trick him into joining the mafia, Dazai expressed what he was going to go through was worse than what happened in the slums and gave Akutagawa an out that he could live a normal life with enough money, but he knew Akutagawa would not refuse because he still needed meaning in living, just like him. Gaining enough money to get by so he and his sister could get out of the slums would do nothing for him, he already felt that his life was worthless. He has no problem throwing it away at any time, he was gonna die young regardless because of his lung disease. It has manipulative undertones, but that's how Dazai usually is with even the people he cares about.

Akutagawa knows too well that a person needs a sign, someone to tell them it’s okay to keep going, and so does Dazai. Part of Dazai’s goal is to save Akutagawa from dying and give him a reason to live like he promised that day because he sees the potential that could come from his development. I don't want to sound like a dick again, but you’d have to be dense to think Akutagawa would still be dead by the end of this arc. He isn’t sending him off to his death, Dazai doesn’t know everything.

Even if he knew Akutagawa might die there, it's better than both Atsushi and Akutagawa dying at that moment. If Akutagawa didn’t want to die for him, he wouldn’t have, he chose to save Atsushi’s life. This is why I have to defend Asagiri. Let’s reread the interview together, to make it get across already.

(Twt link)

Q: Just like how Akutagawa and Atsushi's relationship has changed, I could feel the relationship between Dazai and Akutagawa moving forward too. Is it like what Akutagawa has said in Episode 3 of Season 5, that every order he has received from Dazai so far has been "a trial", "a part of a meaningfull life"?

First, the question being asked. They’re asking Asagiri about their relationship in the present, and how it’s developed. Akutagawa is no longer thinking he was abandoned by Dazai for a new, better student like he was made him believe, that was just to rile him up and interact with Atsushi more. Instead, he realizes that he’s not supposed to work against Atsushi, he’s supposed to work with him. How he decides to go about that battle with Fukuchi and whether or not he works with Atsushi like a partner is his trial. If this was Akutagawa before he met Atsushi, he would’ve no doubt escaped or might’ve thought defeating Fukuchi would prove himself to Dazai. He's not an obstacle to his meaningful life, his quest for a meaningful life lies with Atsushi.

Asagiri responds with:

Asagiri: Needless to say, Dazai is the most qualified person in this world to help Akutagawa grow. Dazai has a vision for Akutagawa's development, and he completely understands what it takes to achieve it. We, as obsevers, can only see bits and pieces of that vision. But I can at least say that Dazai's training plan has never been wrong.

Many find this answer questionable, I was stunned reading it myself. Asagiri is not wrong at all here though, Dazai is objectively the only person in this series who can find a way to help him. Atsushi is the endpoint, but Dazai has been guiding him to this point. Dazai himself said that he was planning to team them up the moment he met Atsushi, he was still thinking of him even after all these years. There are much scarier implications than thinking that Asagiri was wrong. It's that Dazai was doing everything intentionally to get Akutagawa’s mindset where it was. He didn't mess up with Akutagawa, he just couldn't personally teach him the skills he needed and chose a different route until he found something that could.

Asagiri is not saying the abuse was morally justified, but the intention behind it was not wrong in an objective stance. Dazai would know what to do the most because of his understanding of wanting to find meaning in living. Teenage Dazai couldn’t have achieved much by himself, even if he could understand since he also could not find meaning in life. That’s why he made him hang on to his every breath of validation so he would keep his faith in Dazai long enough for him to find a solution to this dilemma. The moment in life when he found Akutagawa was not ideal and he still did what he thought he had to do for him to survive in the mafia. Without his ability, he's incredibly weak and needs to be able to defend himself. A violent person could not have made another violent person unlearn their violence.

You could say he just wanted a weapon, but that’s not it, not even close. Many of you are stuck on the part that it was a suicidal teenager that picked Akutagawa up from the slums and that no way someone like that could teach another suicidal teenager anything, so it’s “comical that Asagiri thinks as though he’s the most qualified”. You’re not wrong in some sense, but this is still incredibly intelligent, “Black Wrath of the Port Mafia”, Osamu Dazai, and not just some suicidal teenager.

He’s also no longer a teenager. Right now we’re talking of Dazai in the present who’s grown and no longer needs to be how he was in the mafia, he has Atsushi now, someone who can help Akutagawa see what’s wrong in his outlook. The only thing he could’ve done back then was to shelter Akutagawa so he wouldn’t kill himself. It's horrible, but Dazai validating where he is now would do no good for either of them and fix nothing.

Q: What kind of person is Dazai to Akutagawa?

Asagiri: Actually, at the time of "The Dark Era", Dazai already spoke very highly of Akutagawa, as someone who would "become the Mafia's strongest skill user in the not-so-distant future". He just doesn't say that in front of Akutagawa himself. The reason he doesn't say it is that Dazai has to be "the presence that continues to give meaning to life" to Akutagawa. So far, that trial has been completely successful.

None of what Asagiri brings up is new information. He doesn’t say it in front of Akutagawa not to spite him, but if he gives these praises out too freely, he loses his distant, almost god-like presence in Akutagawa and will go back to being just a lone wolf with no exceptions that will carelessly get himself killed. Without any goal, he’s lost. Just like Atsushi and the headmaster and how Atsushi hinges on proving he can do a good thing to motivate his life, Akutagawa similarly hinges on the fact that if he fails, he won’t get Dazai’s approval.

However, his death was not fully about Dazai’s approval in the way he's been preaching. In chapter 87, he mentions Dazai’s approval like always, and when they fail the first time even after trusting and working with each other as Shin Soukoku should, It hits him. What came into his head I cannot parse out at the moment, but his actions speak so much louder than any explanation we could've gotten. Of course, he's helping Atsushi escape, but what does he do for that? He used his ability on his shirt, and not just on the coat like he typically does.

It doesn't seem like a big deal at first, he could've always done that, but when was the last time he used it on something that wasn't the coat Dazai gave him? The coat means many things. His new beginning, his path in being Dazai’s student and successor (as that was also Mori’s coat), but it also conveys Dazai’s will that keeps him alive and that he's only strong with his coat. Without it, he's defenseless, so he clings to this coat the exact way he clings to those orders. It's his encouragement to keep going when Dazai isn't there. This overwhelming, suffocating responsibility, an oversized coat, is a lot to give to a kid but it's comfortable and he’ll grow into it eventually.

It was already a huge step in his development that he gave Atsushi his coat, but to use his ability not on his coat means he's making an effort to overcome his fixation and do an action unrelated to Dazai for the sake of Atsushi’s life. His whole life after the slums, everything he's ever done was with Dazai in mind. Him saving Atsushi’s life was not because he was doing what Dazai wanted him to do, that he'd finally get approval for doing It, and in turn give his life meaning before he died. When he saved Atsushi, it would give his life meaning in just that. He shouldn't let himself be defined by the past the way he criticizes Atsushi for, so he’s going to choose his meaning. I wouldn't say he's moved past Dazai yet, but he's getting there.

Dazai and Akutagawa’s relationship is not healthy in the slightest, and Dazai’s crueler actions and words against him are not right, but they’re still growing and not stagnant characters. Atsushi and Akutagawa learn from each other and that's what's pushing them to change. Nobody will pretend those past means weren’t just abuse, they were, but there's so much more to it. Like I asked with the director, was he successful? Well from what I’ve said, yes it so far has gone the way Dazai hoped for in the best-case scenario.

In the main universe at least, this is one of the better ways it could’ve gone. Beast is a different story. Teenage Dazai of the main universe was unsure of Akutagawa’s future and did only what he could’ve done at that time, but Beast Dazai does have that knowledge and he decided that it would be best for Akutagawa to not be in the mafia, instead bringing in Atsushi. It wouldn’t have been good to let him pursue his violent tendencies more than necessary in the mafia in this universe when he knew there was a better option, especially with someone like Oda, who would take the time to care for him properly.

Even if he didn’t bring him in, he still gave him the motivation to keep living for something. The prologue of Beast is a mirror to The Heartless Cur, with instead it’s a distant relationship of hate Akutagawa has for him for taking his sister. For those who argue that since Beast exists, that means Asagiri was somehow “wrong about Dazai”, but it’s still Dazai from the beginning that’s the source of this motivation. Dazai, who's still guiding him. If we’re gonna be honest, Dazai was putting their development/capabilities in speed run mode with the logic and future information he had access to prepare them for a timeline he won’t be alive for. There are many factors for what he did in Besst, but that’s not the conversation.

What does he get from helping him? Who knows, Asagiri wasn’t being cheeky when he said we only see bits and pieces of his vision. We barely have any clue what’s going through that man’s head, so don’t act like you do. He wasn’t always planning for the next Soukoku. Maybe it was a thought that came up sometimes, but he’s only met Atsushi recently. What about Akutagawa was so different from any other powerful ability-wielding orphan? Well, we’re not gonna know any time soon.

The point is that Dazai is thinking about their future, even if the abuse or manipulation makes that hard to see. Please do remember that abuse is still selfish no matter the intention, but non-selfish intentions make it all the more complicated to process. Their relationship is not misunderstood by Asagiri himself, it’s just clear to me most don’t want to face the unpleasant truth that there is more to their dynamic. When I first realized what was going on, I couldn’t help but get unnerved and awkward when someone would ask me about these two. These are both characters in the spotlight that you’re supposed to care about, but what happened between them is rotten.

You’re not supposed to pretend it didn’t happen because Dazai still contributed to who he is and it shows whenever it’s on screen. Abuse doesn’t make us stronger, don’t make it as if that’s a message that Asagiri is spreading. What happened to him motivated his development, but with Atsushi, that’s the opposite. Their circumstances are different and victims process what's happened to them in various ways. Depicting it in a form less common than usual doesn't mean the author thinks in the same way the victim does, it's just nuance at work.

I did not add Akutagawa’s attitude towards his subordinates and newer members as Dazai’s responsibility because Dazai is not the one controlling his hands when he hits Higuchi. Dazai’s mentoring contributed to his toxic views of being useful, but it’s only Akutagawa’s responsibility once he raises his hand. Instead of thinking of this in the context of the most typical abusive situation you can think of, how about this:

Your parent was raised in an abusive household, but they think they came out of it just fine and that there was nothing wrong with how they were treated. They treat you almost the same way, and all you can take away from that when you find out is, “At least it’s not as bad as it could’ve been”. You still hold anger at the standards they’re forcing you to reach, but if that’s what it takes to get that approval, then you’ll keep going anyway. Even if you get yelled at and you know you shouldn’t be treated like this, it’ll feel nice when you finally get on their good graces, right?

Then you get a new sibling, and all of that comes crumbling down. They don’t treat your sibling anywhere near the same when you were that age. Years go by and you get angrier and angrier. Why is it only you that was put to that standard? Even worse is that they treat you differently now too. You finally got to those standards, but now what is it worth? They’re so much nicer now and you want to curse them out for only changing now. Why couldn’t have had that parent from the beginning? It’s so unfair, but you can’t take it out on them because you still need them, they mean so much to you. As angry as you were, they were doing it because they cared about you in their way, you think. It was what your grandparents did to them at least. So you start treating your sibling similarly to how you were treated because you can’t take it that they didn’t experience that hardship without destroying yourself first.

Question: Are you right in what you did? Was the parent responsible for what you did to your sibling?

Nobody in their right mind would say yes to that first question. It makes sense why it happened, but continuing abuse will never be the correct answer. You’re doing the same thing your parent did. The second question needs more exposition to answer, however. How responsible is responsible?

In the end, even if it was the parent who influenced it, you’re only responsible for what you’ve done on your own accord. The parent did not tell you to take it out on your sibling, you decided that yourself. The parent is still responsible for what they’ve done to you, never get that wrong, but if you say that your guilt is absolved because it’s all their fault, you sound no different from any other abuser in denial. Are you saying now that the parent is also absolved from guilt because it’s all their parent’s fault too? Listen to yourself, You hurt someone but it’s not your fault, but the person who hurt you is also somehow not at fault? If someone came up to you and said that, you’d be fed up.

For those who do the same thing with Mori, rethink what you’re saying. Is it that painful to admit your favorite characters are at fault and that they’re changing? This comparison isn’t perfect and ignores some key factors: Dazai isn’t Akutagawa’s or Atsushi’s father and is not much older than them, the Port Mafia is a violent workplace environment and requires you to be able to navigate it a certain way, and all three of them at adults in present time. I used this comparison to be more real to earth and something a larger audience could process themselves to truly get that the emotions here are not straightforward even in a realistic situation.

Re: Portrait of a Father

Just like the prologue, in chapter 3 of the Beast light novel, Portrait of a Father is mirrored and retold in brutal upset that does not hold the hopeful bittersweetness at the end of it unlike its original. Before the present day, against all orders Dazai gave him, Atsushi attacked the orphanage on the day of his birthday. On his birthday, he would be reborn from the ashes of his past being burnt away, and kill the director inside to release himself from the fear of those memories.

It’s what he says at least.

Playing out, the director was expecting him. There might have only been one person in his mind who would’ve attacked a rundown orphanage on this scale. It frightens Atsushi after all that planning and fear of losing to the director, he could still see through him, but confusion takes hold when he’s told that he was late for his graduation.

Graduation? Atsushi is in fight or flight mode, why is he approaching him with this box? He can’t imagine it being anything other than a weapon, nothing else would make sense for this cruel monster. The director won’t give him any straight answer, just repeating words he’s heard over and over growing up here. He uses his tiger hearing to glean what could be inside.

Tick. Tock. Tick. Tock.

There’s the proof, it had to be a bomb. He needs to protect himself before anything happens or he’ll die. He’s scared, he can’t move, but he has to fight. The director opens his arms for the embrace of his child… and death, plummeted into a bloody mess on the floor. Only out of the corner of his eye, only when Atsushi stopped, he saw what was in the box. It was a watch, brand new and high-end. Happy Birthday was what was written on a sheet of paper next to it.

His last words, whispered into his ear, were words of encouragement: “Yes… just like that.”

I was not kidding when I said this was brutal. Just like in the main universe, Atsushi learns why he did what he did and can’t place any of his feelings, but overwhelmingly guilt crushes him to keep protecting people with his life rather than just fear because he killed him. He finds out much earlier about what happened with Shibusawa, and how the director protected his identity as the tiger.

The director’s intentions are draining when you let your mind wander. As we’ve established, the headmaster as a figure of hate for Atsushi is intentional on his part. He doesn’t explain anything on purpose here to probe him into killing him. He bought that watch for Atsushi as a congratulations for growing up and becoming a new independent individual.

In the split minute before Atsushi took the first swing, he said his usual, “Those who fail to protect others do not deserve to live.” I have to question now if he was so willing to die there, even encouraging him to kill him, then has it been this whole time he still can’t live with himself for what happened to his friends… or is it because he couldn’t protect Atsushi anymore? Maybe I’m overthinking it and it was just that the headmaster thought Atsushi needed to kill him to remove an obstacle in his growth as an individual, to be a necessary sacrifice for his benefit.

It's too flawed though. The director will never leave him, not after all that he's engraved into Atsushi. The watch has become not a symbol of a person who's found himself, but a child that's latched himself onto his father's cold corpse that won't ever respond, but that child would do anything to have him wake up and say "Good job, Atsushi". The director also has a clock, but can he call himself a strong individual when he hasn't let go of the past either?

Time stopped for Beast Atsushi when he picked up that watch. If he had just followed orders, none of this would’ve happened. If he isn’t his father’s child, if he doesn’t uphold his last wish, then who is he? When he’s no longer in the mafia and has time for himself to think, he wanders.

He failed in becoming someone he could be proud of, he deserved to die for that but doesn't want to be dead… because It wasn't truly about the Director, just like how it wasn't truly about Dazai’s acknowledgment or saving his sister for Akutagawa. At first, that was the motivation, it's the reasoning they keep going with, but in the end, it was to save their own life and give it purpose to validate why they're still around. If they can die like this, then it's all the same. If they have their own life in someone else’s hands, then they no longer have to be responsible for their own heavy-hearted weight.

Beast Atsushi is given neither and is taken of his reasoning, but he keeps going. Aimlessly.

Luckily, it’s not where his story ends.

He wakes up in his old orphanage, and it’s no longer the dreary place it was when he was younger. Kids laughing outside, no chains on the walls or bars blocking off the windows, and the new Orphanage Director greets him. He tells him that he will go back to being a student of the orphanage until he can become independent again, under one of Dazai’s last requests before he died.

Still, there’s one thing he needs to do. The new director takes out the watch and tells him to break it. Atsushi is distraught by this notion, but he won’t let Atsushi leave if he doesn’t. The new director has good reason, there is no point in becoming someone the past director was proud of and this is what’s holding him back. Atsushi, eventually, tells him he will not break the watch. He can’t move on just yet and this watch is still proof he’s himself, yet…

He’ll keep going and move forward, just like Akutagawa told him after he spared his life. The new director finds those words to be enough, saying he can’t leave until he finds something else to define himself with, but he can keep living here as his son. He went there to burn away his past and came out of it not able to let go of the past, but now he can redo and process it healthily with someone willing to hold him like a father should.

The Man Who Raised Dazai

Everyone who’s read Beast has questioned it: Why did Dazai in his right mind have Mori take care of an orphanage? Why did he save his life? Better yet, why is he so nice?! I have come up with some speculation on why Dazai would.

“Beast Dazai recognized this potential of change either from the multitude of universes he was able to witness or recognized it in his own considering canonverse Dazai never does anything against Mori (even if he visibly dislikes him).”

“Possibility is one thing, the why is another. It was either that he saw potential and good that could come out of this in the long run, Mori’s intelligence and expertise still proves usefulness, less dangerous for Oda in the long run if he let Mori stay there instead of the Mafia, or all three.”

(Didn’t feel like rephrase them)

We can’t know anything for sure about his decision, but I do know Mori is the type of character to sacrifice his feelings for what he thinks would logically benefit the sum, and there’s no better way to release yourself from that too-calculative responsibility than to remove yourself from it and to be in a place where you’re allowed to care for others and express yourself when there is no greater purpose than to just grow.

What happened with Yosano is undoubtedly wrong, but Mori had put away any sympathy in those situations because he needed her to do what he brought her in for. I was confused by his declaration that violence should never be used to educate children when I read it, especially out of his mouth, but now I understand. He would know with certainty that it’s not the right way to educate children, particularly because this is a Mori that hasn’t been in the dark for these past years and has grown to care for these children at the orphanage without any greater intention for them.

He’s not like the Old Director because he has no reason to think these kids would end up the way he did. They’re just kids that need someone to raise them with kindness, kindness will be what gets them through life as functional adults. Abuse has too many drawbacks to be called an optimal solution here. Is it surprising that all it took to change Mori was the kindness and salvation Dazai offered to him when he took over? Can you believe it was that simple to treat someone like a human being instead of a figure of hate?

What sticks out to me like a sore thumb is that when he’s introduced in Beast, he’s referred to as the man who raised Dazai. He is, regardless of what you think, the closest thing Dazai has to a father figure. In regards to how the fanbase speaks of their relationship, it’s hard to think that he cared about Dazai, but he did and the extent of how bad it got between them is grossly exaggerated.

As many comparisons Dazai gets with Yosano, their relationship with Mori is very different. Unlike Yosano, he did not need to be forced to do anything with psychological abuse and he did not need to be torn down to do what Mori asked him to. We don’t know what happened to him to become like this, but it wasn’t because of Mori. Yosano had light in her and a motivation to do the right thing, but Dazai didn’t. Dazai is no stranger to any violence or using violence himself even before Mori if he's this desensitized.

It’s useful that Dazai is like that when he meets him, up until it isn’t. He’s moody and actively looking to die. Mori can’t predict him that easily and Dazai can see right through him. There’s another huge difference between them though: Mori sees himself in Dazai. We don’t have enough insight in his head to make conclusive statements, but I think this is why he cared for Dazai. It’s not because he saw a child struggling that he cared, but grew some fondness because he saw a little mini-him. When he drove Dazai out of the Port Mafia, he expected him to come back and take back his vacant seat.

Eventually, Dazai will come back and realize that petty anger about someone dying is illogical in somewhere like the mafia. But because of him not being able to see through Dazai and seeing himself in him, he also expected him to eventually usurp his seat if he stayed any longer. That is why he had invited Mimic at the time he did and manipulated the situation so Oda, someone he knew Dazai cared for, would go and take care of the situation flawlessly. He’d be sacrificed and Mori could get something out of it, a Skilled Business Permit. A perfect plan… in theory, but Mori was wrong and miscalculated on many levels because of how many assumptions he made about Dazai.

First, he wouldn’t have known that it was Oda who held the words that would convince him to leave the mafia and go into the world of light. Dazai will never come back to his own volition. Second, as those panels quite literally tell you, Dazai was never planning on killing him. He saw his place in the mafia and saw that he was needed there. When Mori finally realizes his mistake with Dazai 4 years later during the Guild Arc, he can’t go back. His plan was still perfectly sound and he still got what he wanted out of it. He shouldn’t regret it, but…

Now that’s been paved out, where does wanting to save Dazai fit into this? If I had to assume, it’s the same reason he didn’t shoot Dazai for leaving his office during Dark Era. He cared about that boy, for 4 whole years he left him and his seat alone when the logical thing he should be doing was replacing him, but as much as he might’ve cared, he needed to put the mafia first. He didn’t let him die because of his use, but also because of their so-called “common destiny” in his eyes, a diamond in a rough he might’ve disposed of otherwise if he didn’t see his potential. There’s not much he could’ve done for Dazai here except keep him healthy and alive. Mori gets tons of flack for not trying to help him, but there's nothing he could've done, not in their position.

He can't cultivate his potential if there is abuse involved because there is no logical reason for him to do anything to Dazai. You guys have to stop assuming the worst when it comes to Mori, you’re missing huge character details that are right in front of you. The difference between Mori, the Boss of the Port Mafia, and Mori, the Orphanage Director is that he had time to rekindle his humanity so he’s able to care about him like a normal human being, feel guilt, and admit regret after Beast Dazai has died. Mori at most was responsible for ingraining tactical strategies and theories and molding him into the perfect Mafioso and right-hand man.

Not to say any of those aren’t a bad thing. He’s still a child and having him use his desensitized, intelligent mind to build the potential in what he could do for the mafia, it’s just that he’s responsible for very little in Dazai’s personality. The only answer I could give about Dazai being abused by Mori or being abused under the credentials that he’s a child in a violent, unsafe place is the same answer given earlier for Chuuya: in his case, not really.

Regarding this, I retract my statement about anything I’ve said about Beast Atsushi not being a victim in his time in the mafia, but I still hold my stance that he’s not the victim of the port mafia. I want to say the same thing about Beast Dazai and Atsushi that I do here, but considering he picked him up and trained him like how he trained Akutagawa, there’s a great chance Dazai emotionally abused him when you read their interactions. Not physically as that would make him too much like the headmaster, but just enough emotional distress in bringing up traumatic moments to manipulate him into doing what he needs of him.

It’s not a good relationship, but Mori wasn’t targeting Dazai in any real way like the Director and Atsushi or Dazai and Akutagawa. Unlike every other section, I have to conclude that he didn’t do anything to Dazai in that regard other than treating him like another adult when he shouldn't have. I don’t have much to say negatively about their dynamic otherwise. Just a weird, terrible son with his weird, terrible father. It’s more like someone who's taking after their mentor’s teaching and methods rather than an abuse victim echoing their abuser. This is why I don't accept the “Cycle of Abuse” as how the fandom understands it. It tells me a lot that people resort to the blame game.

I wonder what Dazai and Mori’s relationship would've looked like without any of this in the middle. Maybe something in cadence with Ranpo and Fukuzawa, but I can't help thinking that accepting Atsushi as his son in Beast instead of a student wasn't just for Atsushi’s sake. He was about to call him his student too, but immediately changed his mind. He already admitted he was helping him because of what happened to Dazai, so it can’t be a huge jump to think that in the same way this is Atsushi’s redo in building a relationship with a father figure, this is Mori’s redo to give him some atonement for the boy he failed.

A Mother’s Love

Kyouka, when we first meet her, appears as a force to be reckoned with. With skills a young girl shouldn’t have, and a demon shadowing behind, she’s a terrifying opponent. Quickly though, that appearance falls short in tragedy when the bomb Atsushi’s after is found on her own body and when he asks if she truly wants to kill... She has no answer, but her actions speak clearly. She gives him the defuser because she doesn’t want any more people to die, but the man behind the phone will not let it defuse.

So Kyouka does the next best thing to save more from dying: falling off the train with the bomb that’s about to go off. As long as she dies with it, nobody can use her and her abilities to massacre the people on the train when the bomb eventually fails to do what is necessary. Because that’s when Atsushi realizes that she cannot control her ability herself. No matter what she genuinely wants, she will never have the ability to obtain it because of this one fact. She can only be what people tell her she is.

We all know this story well, she gets saved by Atsushi and the man behind the phone is Akutagawa. Atsushi offers her the same kindness Dazai extended to him regardless of his reputation and destruction because it’d only be the right thing to do. He knows her incoming fate of eventual death for her crimes, he can’t do much, but she should at least experience normalcy this one time.

When she’s about to turn herself in, Akutagawa stops her and tells her she did her job well as a decoy for him to capture Atsushi. I don’t know if you’ve noticed, but there’s a peculiar oddness about Akutagawa here in his attitude towards Kyouka. In all logic, even though she is a strong tool to the mafia, she’s a low-level member, a disobedient one at that, and should’ve been killed on sight for her betrayal considering how quick he is to violence, but he talks as if nothing even happened. He brushes off any thought of her dying as she’s spouting nonsense and that she’s going to go back to the mafia as normal.

But then he spouts off about how she’s better off dead on the ship if she stops killing. What’s up with that? It’s not completely obvious at first, but he’s projecting his own experiences in the slums and beliefs formed from Dazai’s mentoring onto her. From his time when he wasn’t in the mafia, he tells her there’s nothing left out there for people like them, there’s only rock bottom. He can confidently say that there is nowhere that would accept her for her ability, demon snow, because it’s the same for him.

The only way her life can have value is to kill to be useful, just like any good mafia member. It’s exactly why that flashback with Dazai happens here. He’s the one who fed him these thoughts he’s lived with for these past 6 years, and what she’s been believing for 6 months. He doesn’t loathe her, he sees it as doing a favor for her. What else can a little girl who can kill be use of except to kill in her circumstances?

Contrary to popular belief, he is not her abuser and is not the same thing Dazai was to him. He neither trained her nor did we have information on their relationship to come to that conclusion. The only thing we know is that he was the one sent to pick her up by the Port Mafia. We can prove she is not the way she is because Akutagawa since Beast, well, exists. She is one of the few characters I can confidently say was a victim of the Port Mafia itself and not just a person of the Port Mafia specifically.

Akutagawa was trying to be what Dazai was to him, but he is selling a bastardized version of it to her. The person who was her Dazai was Atsushi, the same person who was given Dazai’s act of kindness. Someone who has experienced the same things Akutagawa has and is living proof that she can hope for something better.

He could see that the same revenge and lack of regard for her life in her eye was the same kind he met Dazai with. Despite that, these lessons he’s internalized have helped no one, not even himself. She can’t find meaning in something that is the root cause of her suicidal ideation. This life is unfulfilling for people like them who need meaning in life. Akutagawa doesn't realize this because he still has Dazai to be his motivational goal. That’s why he failed to help Kyouka, Dazai’s efforts would’ve been considered an utmost failure too if he wasn’t actively trying to fix that misunderstanding. Kindness is what actively saves us and helps us grow, the harm in abusive environments will only stunt us. But what happens when kindness is offered to us, but nothing comes out of it except proving us right that we’re unsavable? Then you have Kouyou.

Kouyou is the second person I could say was a victim of the Port Mafia. She has the same belief Akutagawa had about people like them being unable to be saved, so the only thing they can do is embrace it. I can’t claim she was Kyouka’s abuser either as we again don’t know enough, but that doesn’t change that her behavior is emotionally abusive, and is a much better contender than he is.

She’s doing the same thing Akutagawa was doing himself. Seeing themselves in this child and doing what she “needs” instead of what she wants. Just like him, she views this as saving her from the hands of light that will never make room for them and will ignore everything else she says. When Akutagawa is faced with her “disillusionment”, he… accepts it when she refuses his will and chooses another path, but almost kills her to spare her from that decision that would “doom” her.

Kouyou is much less accepting, opting to kill the root source of this hope itself, Atsushi, because her fondness for Kyouka prevents her from leaving her for dead. In contrast to Akutagawa’s attempt at being what gives her life meaning, Kouyou wants to stop Atsushi from being like the same man who also gave her hope that they could escape to the world of light. She can’t bear to see Kyouka go through the same realization she did far too late.

I can see what you're thinking, why am I reluctant to call either of them Kyouka’s abuser? Even if Akutagawa doesn't count, shouldn't Kouyou count because she seems to have an actual relationship with her and her effects are prevalent in Beast, the same points I mentioned to debunk accusations against him? Sure actually, but think about it like this. What the Port Mafia does have in common with real situations is that this is a community that is full of victims who refuse to process their traumatic experiences for any reason, and bring down others to their level when they don’t fit in their narrative to justify what’s happened to them.

There isn’t just one abuser weighing over you, there's this collective pressure from so many who aren't your abuser but they still contribute to your abuse with their presence itself. If Dazai wasn’t there in the mafia, would Akutagawa's situation have changed? Yes. Now if Akutagawa or Kouyou weren’t in the mafia, would Kyouka's situation have changed? Not at all. She’d have fewer examples to refer to, but she’d still be abused. If it’s easier to imagine, think of it similarly to cult mentality and how they keep you in cults. That is the reason I emphasized being a victim of the Port Mafia instead of an individual. Kouyou, Q, and Kyouka, while you can pin their main perpetrators on certain people, their overall situation doesn't change.

Now why doesn’t she just use the phone herself instead of letting people call Demon Snow for her? Wouldn’t she have more agency that way? Atsushi proposes this, but she rejects it instantly. It’s a very simple answer, it’s the same reason she can’t bear to look at it outside of when she’s forced to use it in combat. It’s her ability that killed her parents and why she was forced into this position.

It’s not hard for a little girl to believe she’s nothing more than a killing machine when she sees that night her ability would mercilessly kill her parents. She eventually caves when Kouyou points out how quick she is to vindicate violence to protect that hope she desperately wants a part of, and how she will never change. Her first mission with the Armed Detective Agency is proof in itself. Was Atsushi going to keep extending his kindness after hearing what she could only blame herself for?

Kouyou is a character I’ve seen that gets a lot of double standards compared to all of the other characters I’ve mentioned with abusive tendencies and is almost purely liked. She’s not seen as an absolute monster (The director, Mori) or controversial with one side containing pure dislike and another pure love (Akutagawa, Dazai), it’s only that she’s a well-written, sympathetic badass girl boss. It’s either because she’s a woman, that she doesn’t use an overt intimidation style, that her motives are more obvious in their emotional influences, or all of the above that she’s not treated the same.

Kouyou’s motivations are not special, as I’ve said. The only thing that differentiates them from the others is that they’re not covered by a mask of indifference. As fond as she is for her, she’s not much different from anyone else who holds the mafia up in high regard. She weaponizes her words in where they’d hurt the most so Kyouka would come with her. The entire last section of their battle sums up with her saying, “Kyouka come with me, they’ll only use you for your Ability when they get a hold of it. Even if the mafia did the same thing, at least they’ll accept you for who you truly are: a natural-born killer. You don’t have to fight anymore, I’ll protect you.”

When Atsushi finds Kyouka once again subsequently in her disappearance, she chooses to embrace her violence to help the Armed Detective Agency in this fight with the Guild. After her walk in where she used to reside, she comes the the conclusion she no longer belongs there. Against Kouyou’s wishes, she will brandish her blade for a home. That blows up in her face the moment she starts. Atsushi gets taken, and it’s just as Kouyou said would happen. If even her violence doesn’t get her wish, then what can she do besides leave herself to her fate?

As someone who’s seen another with a talent for killing walk the path of good and is on that same path himself, Dazai talks to her. He tells her about how she hasn’t gone through her entrance exam yet, how she isn’t an official member because she hasn’t proven her will or life on the line to help people she doesn’t necessarily know. Kyouka doesn’t believe she could’ve passed if that’s what it takes, but Dazai doesn’t agree with the points she’s brought up. So what if she’s killed or considered dangerous? That doesn’t make her less qualified to be a part of the Detective Agency, everyone there is from different backgrounds.

She can’t know everything, not even about herself. Nobody does, but it takes others to see more of yourself. Excelling in one area doesn’t prevent you from nurturing your potential in another. What would that make someone like Atsushi, a person who’s been her guiding figure throughout—but was never seen as anything more than a threat or a beast because of his ability before he joined them? The truth is, our lives aren’t defined by one purpose the moment we’re born, it’s only something you can make for yourself. We’re not the places we’ve been raised in, not the ideas people apply to us, and we’re especially not defined by the traumatic experiences we had no control over.

All of it accumulates the person we are today, and we can’t change that no matter how much we resent parts of our image that don’t hold up to what society deems as right, but it shouldn’t take control over what we want for ourselves. It isn’t fair for the victims who were forced into a life where they had to fend for themselves, the children who had to navigate an adult’s messed up world that didn’t have room for them to grow as kids should. Forced into a box where they stay unaware that they’ve ever left their mother’s womb, break out in fury with eyes that grew up too early—only to become lost and thrown away, or rot in that box without a single person knowing they were a breathing, living human being.

I deem abuse selfish for this very reason. Kouyou is wrong for this very reason. If she finds comfort in her reasoning, then I can’t critique her for her own choices and will have to respect her for choosing to stay in the mafia even when the old boss is dead, every abuse victim is different, but not a single person is born evil or good, in the dark or light. Not a soul has to stay in one place because they started there. It’s going to be a hard journey to truly achieve what you long for, results aren’t immediate and not everyone gets there no matter their effort, but still try. Try because it’s still worth trying, because you’re still worth more than you think.

In parallel, you can only get there as long as you’re seeking it. Too many see the Armed Detective Agency as something that will automatically save characters just by working there, but the only way it can help them is if they seek out their help themselves. The ADA is not the right place for every character, but Kyouka does want a place there. After her conversation with Dazai, she knows what she wants to do now. She will smash the drone she’s in into Moby Dick so nobody will have to die, but sacrifice her own life in the process. She’s chained to this place, but her choices aren’t.

She doesn’t have to die with regret, with this she can pass the entrance exam and become an agency member like she wanted. She made a difference for herself just by this act. It’d be a pretty melancholy arc if it ended like that, thank god we know it doesn’t end like this. When you become a full agency member, you gain more control over your ability, meaning—

She’s fine.

The exposition is over, let’s talk about Kyouka. Her arc is beautiful and the neglect to talk about her when it comes to her abuse story besides saying, “She’s the one who stopped the abuse cycle” and then nothing else is heartbreakingly superficial. She didn’t stop it, it’s impossible to, but she did break out of it. Kyouka’s section has more exposition than the others but I expected that. I wanted to save her for last because she’s the only one whose arc has come to a peaceful conclusion and not unfinished, and the lighter message felt nice to leave off on.

I shouldn’t berate Kouyou too much, the only reason she stayed in that room after being captured by the ADA is because she did want Kyouka to experience what she never had, and speaking with Dazai helped reassure her that Kyouka would be able to achieve her dreams. It’s no longer the age of the old boss. As well as her shedding the truth about her parent’s death so she wouldn’t have to resent her ability as not an avatar of massacre, but a product of her parents’ love that will always stay with her. She didn’t let go of the phone she’s had this entire time because her mother told her not to let it go.

Me going over Kouyou in this fashion is not me saying you shouldn’t love her character, I like her too. It’s just that it’s passed over so fast what she did, but somehow Akutagawa is more at fault here is mind-boggling. I’d get it a little more if this is because she redeemed herself by wanting the best for Kyouka over what was best for the mafia, but I doubt that’s the case when that moment is talked about so little as well.

I genuinely need you all to understand that not every character is going to have a satisfying, clean conclusion like this. Akutagawa’s story is most likely not going to have a conclusion that satisfies everyone and you should respect it when it comes. There’s no perfect way of writing abuse, but there’s no correct way of doing it either. I don’t think Dazai is going to have the repercussions you want him to have any time soon. If you got the message from Beast, getting revenge on an abuser doesn’t make us feel better or let us process what happened to us. Total resentment keeps us stuck.

The only thing that will heal us is the kindness so many offer in this series. You in no way need to extend that kindness to an abuser, you don’t need to forgive them or let them into your life again, but be kind to yourself and don’t let resentment prevent you from focusing on yourself. Forgiveness and reconnection are not the same thing. Don’t be angry when a victim does want those things. Unless it’s character inconsistent, that’s not something we shouldn’t have any opinion on as the right or wrong way to go about their lives. What if later they do change their mind and want something different from what they originally planned? That’s fine too. Everyone is different. Don’t give unsolicited advice to people who do not want it, let them decide for themselves. It is the best thing you can do.

The worst abusers are the ones who refuse to change and see wrong in what they’re doing, but what about the ones who do want that? Then also let them heal. They did something awful, why isn’t it a good thing they want to stop it now? You don’t have to let them in just because they changed though. Apologies don’t fix the damage already done, but to some victims, it feels nice to feel that what’s been done to them is acknowledged. You don’t want them to hurt others the way they’ve done to you, and neither do they. It hurts to let them forgive themselves when you haven’t and never will, you want to see them suffer, but that’s the only way things can change.

Dazai has changed, is he a good person even after what he’s done? I despise this question for any character of this series. He’s grown so much, and if you don’t think so, reread his conversation with Kyouka I beg of you. It is a far cry from his mindset in the mafia. A better person for sure, but a good person is hard to define for anyone in this series. The mafia is still the mafia, do any of them qualify as good people? The government, even if it’s the position of the right in society, is still an unjust system.

What a good person is cannot be an objective answer, people think there is but it’s not. A good person is how much we know about them and where our position in life affects our viewpoint. Prejudice values don’t make you correct in what you think a good person is, being convicted of a crime, one you might not even have committed, doesn’t automatically make you a bad person, being associated with a group doesn’t mean anything about who you are, etc. It’s all subjective in the end.

Meaning someone like Odasaku is essential in a story like this. He still has a presence in this narrative, even if he died in a light novel, because his existence pushes the boundaries of a “good person” in the fact his contradictory existence establishes itself. He failed in walking the path he wanted, but he doesn’t regret it even in his dying moments trying to.

Afterthoughts

The themes of morality and humanity go hand in hand with the abuse present in Bungou Stray Dogs, so it was hard avoiding talking about this when it was necessary. I don’t think it’s right of us to judge a character’s path that isn’t finished, in a story that’s nowhere near done. Ultimately, I’m only talking in a place of experience but never will it make me exempt from any personal bias. I tried to be as objective and nuanced as I could about this, and I hope it shows.

Abuse isn’t one of those things that I can analyze from any logical stand point or take resources to back my statements up about abuse. Of course everything I say can be backed up, but abuse is a personal, human matter and we’re just human being trying to figure out more than we can handle. I just couldn’t be comfortable with how people are now choosing to talk about Asagiri and needed to shed some light in what you’re missing.

Now I could’ve gone over Higuchi or Lucy because their stories also involve abuse, but I don’t think I could say anything new about them without repeating points I’ve already said. We know very little about Higuchi and what made her so devoted to Akutagawa, and Lucy is pretty quick to summarize considering her story is just like Atsushi’s. Q is also a character to be brought up but I don’t have enough information on them to say much about any abuse itself that happened.

Yosano was also an option but I don’t think anyone had any trouble understanding her backstory. Well I was only really aiming to speak about what’s not been spoken enough. Thank you for reading haha, god this thing is monstrous. Already got to 14k words by the time I was officially done…. I didn’t know if I wanted to lean into character analysis or just exposition, I hope it’s a good enough mix of both. This took way longer than the 4 days I was planning to write this in.

I was later reminded that I could do a post on how their abilities functioned and reflect on their abuse/traumatic events, but I didn’t think I’d have enough room for that here. It could be a bonus post eventually? I don’t think I did Kyouka enough justice in that aspect, but i’d just be beating myself up again about not making this perfect.

I hope I don’t come off scary or a very serious person? I’m very open to requests or discussions people want to engage in. Oh jeez, I’ll just embarrass myself if I keep talking. Writing this was a bit much, never really liked writing stuff myself. Sorry if glossed over anything, I wanted to stay on topic and not detail into something unnecessary.

The message BSD has is a pretty normal one, but there’s something very special about how it’s written here and I’m happy it exists. Maybe I shouldn’t have made this so long? But there’s so much to express sigh……