#the gods made them that way for a reason

[hemipteran]

I call this one : “the great lizard dance”

[wombywoo]

retired 🩶

[tofixtheshadows]

Hot take: Laios wouldn't actually mind an arranged marriage. Obviously "reluctant royal being pressured into marriage" is very fun for shipping purposes. But I have harlequin blood, so bear with me. Join me on this journey of character theorizing/shipping nonsense that makes it abundantly clear I have a Scrivener document I'm neglecting.

Laios was promised to someone from a young age. He and Falin both were; it's probably how their parents ended up together. They both broke it off by leaving their village, but it didn't seem to be a factor in Laios's own decision. And when Marcille, presumably, asks about his hypothetical love life (bicorn chapter), he not only brings it up readily, but actually seems kind of flattered? lmao

I love when smug Laios comes out. Underrated factor of Laios's personality for me is how much he enjoys being seen as cool. I think you'd expect Laios to be embarrassed or uneasy over this line of questioning, and the fact that he isn't is fun to me.

So when Yaad and his other old advisors bring up his need for a wife, Laios is ready to go along with it. Not necessarily thrilled by the prospect, but he was raised to think of marriage as a business arrangement you do because it's beneficial for your household/bloodline (as was often the case historically). He's already made the big step to claim a throne, and the idea of becoming village chief after his father seemed to have been vaguely in the back of his head all his life. Besides, if he has to do it anyway, I think he'd take comfort that there was a formalized process for an otherwise socially messy undertaking.

This dovetails neatly with my personal headcanon that Laios is gay but unaware of it. He comes from kind of a repressed culture- or at least I can imagine he does based on context clues- and has spent most of his life being ostracized in one way or another, feeling like he's on the outside of humanity. So he doesn't realize that his lack of attraction to women is unusual- he assumes that nobody really enjoys romance that much. It's not like his own parents married for love. It's just something people play up for stories, right?

It's all tangled up with his fraught desire for human connection and platonic companionship anyway. Meanwhile he's blithely unaware that the things he says about Toshiro are not normal bro things. Oh you'd totally marry Toshiro, Laios? Tell me more.

I see this in Marcille too. Firstly due to her unstable development, which has only recently allowed her to reach maturity (I headcanon her as somewhere between 20-22) and secondly due to her being a half-elf (infertile+a too-long lifespan), I think she has the expectation that she's simply not destined for love. The half-elf character she relates to in her favorite books says as much. So she, too, confuses a genuine lack of heterosexual attraction with the belief that this is just because of her half-elf status distancing her from it. Plus, she spent over a decade as a student/researcher in a nice little sheltered academic bubble, at an all-girls academy populated by adolescents. She's the most sheltered of all the characters: she's only spent the past year in the "real world", and she still focuses all her romantic attention on living vicariously through her favorite characters or her friends (except for Falin, conveniently!).

And Marcille would absolutely want to live vicariously through Laios and his future wife. She would not want him to go through a dispassionate formalized process: she wants her bestie to have a fairytale romance! What is the point of being a heroic king in a mythic castle if you can't even get a love story for the ages out of it?

This would result in a lot of Laios meeting with eligible bachelorettes at Marcille's urging, looking to Kabru for help the entire time and being grilled by Marcille afterwards about what he liked best about each girl. "She had nice, um, teeth?" They're both so close to getting it.

Kabru, meanwhile, is agitating for Yaad and the other advisors not lock the country into a hereditary monarchy, they have the chance to do something radical here, to break away from the systems that the elves and dwarves uphold. At the very least, let Laios marry for love, or formally adopt an heir and name them his successor if he wants, he's already sacrificed enough for the sake of Melini. Don't make him jump through these circus hoops for the chance of some trade agreements, we can get those without a royal marriage. And even if Laios was willing to go along with it, he does look at Kabru like he's his hero for sticking up for him.

The vague unhappiness Kabru feels at the idea of Laios being married off is easy for him to ignore. Kabru didn't actually get better at honoring or even recognizing his own wants just because he's moved past the dungeon. And Laios hasn't gotten the hint about his crush on Toshiro and is still 50/50 on saying casually shocking things, so when he remarks that he doesn't need a wife anyway when he has Kabru, he has no idea why that gets him the looks it does. After all, where he's from, men marry women to run their households, but Laios has castle staff for that, and Kabru is handling the rest?

That comment alone ticks one month off their collective gay awakening countdown.

Anyway. How many repressed gays in their twenties does it take to run a country?

Answer: Yaad can tell you.

[professorjirt]

I’ve discovered my favorite genre of Bagginshield art is where Thorin is a lovesick idiot who is Losing It and Bilbo is unbothered or oblivious to Thorin’s suffering LMAO

[tropicalcontinental]

Human fear is the window to the soul or whatever ://

[dykedvonte]

Curly had two days to act and Swansea had two months.

I think it’s just interesting that every defense of Swansea not immediately acting are the same ones that are argued against for Curly. “He didn’t want to alert Daisuke or makes things worse for Anya either Jimmy!” I mean people also assume that about Curly and the crew. “He has to think about his plan of action and a right moment!” Again so did Curly, power and authority aside, he still would have to think of what he had to do. “He makes sure he doesn’t have to be around Jimmy!” So did Curly and they only do this to an extent, both give Jimmy more than a few opening to keep harassing Anya.

This isn’t defense of Curly nor a damnation of Swansea. Their actions are very parallel to each others in tragic and sour ways when it comes to how they approached helping Anya. In the grand scheme of it all they both did the same thing: Nothing. No action either took stopped the inevitable outcome of her death nor Jimmy’s continued damage to themself.

The only real difference is Swansea didn’t like Jimmy which is pretty substantial, but also just as damning as Curly knowing how bad Jimmy could get to an extent. He had even less of a reason to wait, even more of a reason to act seeing as he was now worried for Anya AND Daisuke. He is not bound by the possible procedure as Captain and actively does not care about what happens next. So what does it matter if he acted in the moment? Why did he wait? I think he’s just as morally complex and grey as Curly and we hold him on a pedestal that still perpetuates things in rape culture the game critiques.

It’s not just enough to dislike and be abrasive to predators/abusers like Jimmy. It’s not enough to just put yourself between them and the other person. It’s not enough to hold tensions when you know someone is vulnerable. He and Curly do the exact same things but on different sides of the coin. I ask how is it better to not turn a blind eye but still not really do anything about what you are seeing? Not until it affects you atleast…

The game makes a big point to not put men doing the bare minimum or who wait to do more on pedestals and I’m actually surprised so many are missing that point.

[tapestryundone]

when the god was made in the image of a man who infiltrated the mind of said god and in doing so made himself intertwined with the form that god took while also being the cause of that form creating a infinite feedback loop of what caused the god and his creator to evoke the very image of the death the creator feared through the form of an animal representing that concept, and the god has faint, undeniably human characteristics given to him by his creator while his creator retained none of it. fuck

[vaguely-concerned]

I've been picking mostly only the essential flirt options with lucanis in the romance so far (I've personally found the dynamic much more natural and mutual when you do that, more like forming a solid friendship slowly and inevitably becoming something else and less like you keep pushing on him and getting little back b/c he seemingly just gets overwhelmed and goes into freeze instead), and I think rye is a pretty hard person to read at the best of times even though he's been Down Real Bad from pretty early on and their chemistry as people is naturally really good. so the way the almost-kiss plays out in this playthrough feels a lot like it has the added layer of lucanis realizing that no but for sure rook is flirting and not just being kind or a good friend* it IS actually happening it's not just wishful/fearful thinking!!! and then uh. maybe going a bit too hard a bit too fast in all the excitement at that revelation haha

*in lucanis' defense he has seemingly literally never had a friend who wasn't his cousin-brother before, under those circumstances I suppose some confusion is extremely natural if not outright expected lmao

[aftout]

You guys say “hey nico we already saw your Chandrelle redesign yesterday” and i go uhm what the freak? Her boyfriends are literally here now as well :/ you literally have to look at them or i will wail and also drawing vallamir made me almosg pass out (Lazarus’ helmet reveal under the cut baby!)

Idk how any of these fuckers get onto that motorcycle

[beanghostprincess]

Sorry I really didn’t mean I’m attacking you or your ship. I also don’t think it’s a red flag, most gay men I saw don’t really like shuggy either. I mean, probably the entire world prefers any other shanks ships? On almost every site, con or store there’s always tons of mishanks and Bennshanks and never shuggy. I get it’s also about dynamic and connection those two pairs have, like with the parallels to other ships the base for them is extremely strong. But the minimal shuggy does speak volumes. I genuinely wonder about this. Shuggy is unpopular and again while I do agree there’s strong connection between “rival ships” I don’t think that’s the only reason… and like…. Buggy is ugly, isn’t he? He doesn’t have cool style, doesn’t look cool, makes ugly faces all the time, also is a coward. I like him as comedy character and shanks brother though!

I understand where you're coming from when you say Shuggy is unpopular amongst some people (actually, before anyone says anything. It IS an extremely popular ship in Japan but I have seen A LOT of hatred towards it in this side of the fandom, so that's what I'm talking about when I say it's unpopular). I have talked about this before. And I have said a lot of times that the reason why is often because people only focus on looks and Buggy is not conventionally attractive for the fangirly twinkified sexualized gaze numerous sides of the fandom and the general audience seek. Like, I am not forcing people to ship them, but I have had people admitting the only reason they don't is because of the looks, and I personally believe that is a very (despite valid, of course) dull way of seeing ships. And respectfully, I don't care that other gay dudes or all the people in the world agree with you. It's not a red flag to not like Shuggy, what it is a red flag, though, is to come into people's inboxes to do what you're doing!

I know you don't mean to attack me or anybody who ships them but your tone does wonders showing otherwise. Your perception of shipping is just based on looks and the fact that you came here, to a blog that explicitly ships these characters and is fond of Buggy, talking shit about one of the characters' looks... Is just straight-up mean and not following the social etiquette this site should follow, which is "let people do whatever the fuck they want".

So with all due respect, what makes you think I won't find your questions offensive in any way? Because you keep talking bad about a character I like in my inbox for literally no reason. Do you expect me to admit that the ship is unpopular because Buggy is ugly and boring? Well, I do admit people view him as ugly and only a comedy relief, but I don't. Expecting others to find beautiful and interesting the same things you do is having a very close-minded vision that One Piece's plot itself is against.

By the way, you're showing that you clearly don't like Buggy in the slightest because you're only talking about the traits that you find negative about him. But of course, you like him as comedy relief. Of course, you like him as a character in Shanks' story and not as a character himself. Despite Buggy having lots of depth. Your perception of these characters seems, in my opinion, extremely empty and, as I said, only based on looks. And you're free of shipping whatever you want however you want! But please, please, don't do this anymore. This is just petty high school mean girl behavior. Even Regina George would word this in a more polite way.

So, as a little advice for you, let people ship whatever they want without questioning their favorite characters! I am sure you will live a more peaceful life!

[dw-flagler]

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

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

"MHA has better characters,"

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

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

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

"a better plot,"

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

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

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

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

"better worldbuilding,"

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

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

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

"stronger themes,"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

No, the Villains don't get happy endings,

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

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

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

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

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

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

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

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

[badfandomurl]

2x03 | 6x03

[fandom-blahs]

Every problem with Alicent's writing can be traced back to the idea of envisioning her as a "woman for Trump"

[the-2nd-random-kid]

i lost focus, like i ever had any in the first place, and made a jjk socmed au.

it is 3 am in the fucking morning. my sleep schedule is so fucked.

deets and stuff abt me making these are in the read more so have fun with that lmao

lmao i based the first two off a fanfic trope and prompt generator-- here they are

theyre just a bunch of kids who shouldnt have been forced to save and fix the world-- they shouldve been spending their childhoods being cringe in myspace and playing hooky instead of being trained like soldiers

this is how i fixed that

also lmao the last prompt it spat out and that i promptly ignored is this--

this is my socmed happy fix it au, i will not have geto go through that again :))

ooooooooor i just make them watch a scary movie and have them bitch about it online and how it wasnt scary at all, the story was trash, etc etc

maybe ill do it next time, idk

also please ignore the date on the first img-- i blanked out on a good date those could be and resorted to gonana day on the rest of the tweets KBSJDFNSG

i also tried giving them each their own online accent-- gojo is, obvi, an emoticons bitch. haibara i imagine is an emoji guy. shoko and geto are kind of similar, but i differentiate between them via the difference in grammar and punctuation. theyre both informal, but shoko is much more informal compared to geto, who uses more punctuation and capitalization and stuff lmao

the brainrot is too real man.

[marblerose-rue]

got asked to draw two of my old wc rp ocs :-) left is cicadahop, right is scallopstar

[anghraine]

Today's unhinged "good God I hate how much extreme generosity I'm expected to extend to the Peter Jackson films by people who make wildly bad faith arguments about things I like" rant:

I am very deeply tired of people insisting with zero evidence that of course the LOTR films are imperfect, but the difficulties of adapting LOTR are such that it wasn't possible for them to be better than they were—in, apparently, any respect. They just couldn't be done better, at all, because it was so hard to make something watchable at all.

This is always just like ... really? Really?? Just what prevented them from making better decisions about anything? What exactly made casting every actor of color as barely differentiated villainous hordes in the twenty-first century so necessary and unavoidable? The glamorization and vast expansions of battle scenes and insertion of "heroic" war crimes was the highest film as a medium could aspire to in the early 2000s because of what insuperable force?

What made it impossible to give Arwen a coherent character arc? The films could not have been made without the underlying assumption that most of the cast are NPCs who will only do the right thing, when they will, if prodded or manipulated or influenced by main characters? In what way is this an inevitability of adaptation or film that simply couldn't have been conceptualized differently, much less better?

There is zero explanation or justification for why any of this stuff (or the myriad other flaws) had to be that way and couldn't have been done better in any way at any point. It's just stated that the films that exist must be the best films that could have existed because they're the ones that do exist and are popular. QED.

That doesn't make any sense, though, and it doesn't convince anyone who doesn't already agree. The idea that they could not have been better in any way (including their worst quality, which again, is the extremely racist casting), that some force was preventing not only the actual filmmakers but any filmmakers that could possibly exist from doing anything better just seems patently absurd.

You can like them and respect what they did achieve without demanding that everyone buy into a baseless and irrational argument that their pop culture success means nothing about them could possibly have been done any better. Look, I was in my mid to late teens at the time. I remember the early 2000s quite well. It wasn't now, but we are not talking about an age so divorced from our own that any of these things were somehow fundamental to the media landscape.

There are ways in which the LOTR films were very good that were essential to their popularity then and now. This does not require anyone to accept that it was literally impossible for them to be better than they are or that some defense is required against every criticism of them ever.

I am not, incidentally, talking about removing Bombadil, an entirely understandable and defensible decision that the film defenders in my notes somehow always feel the need to bring up. I know that changes had to be made, that adaptation is not a word for word transcription, that it would always be a difficult text to adapt, that structurally minor elements had to go, that they are cinematically beautiful films that a lot of work and love went into. I know this. EVERYONE knows this, because for the last 20 years it's been impossible to criticize anything about them without being reminded. Their accomplishments, and their existence, do not mean that any choice made by the filmmakers must definitionally have been the right call and could not possibly have been better in any way.