#the last panel pretty much sums up each of their relationships

[kaizokuou-ni-naru]

The Voyage So Far: East Blue (Part Two)

east blue (1 | 2) || alabasta (1 | 2) || skypiea || water 7 || enies lobby || thriller bark || paramount war (1 | 2) || fishman island || punk hazard || dressrosa (1 | 2) || whole cake island || wano (1 | 2)

this is one of my favorite little character beats in east blue. sanji and zeff have an entire conversation and then zeff mentions, “by the way, that kid can’t swim” and sanji is like “WHY THE FUCK DIDN’T YOU TELL ME SOONER!!” and is in the water in like three seconds flat. 

and, of course, zeff’s fond expression once sanji isn’t around to see.

we don’t see sanji smile like this too often- and when we do, it’s most often related to food in some way (like when he feeds gin, or in his wci flashback when sora says his food is good). it does things to my heart.

kind of reiterating myself from the last post, here, but usopp really does do a lot of cool things well before his water 7/enies lobby character development, just not as many when compared to his crewmates. which is his problem, really- he can’t stop comparing himself to them long enough to recognize he’s pretty cool by any reasonable metric, he just happens to be on a ship with nine of the most badass people on the planet and so his metric is completely skewed. 

anyways he shoots a fucking bomb into arlong’s face and that’s completely sick as hell.

zoro left alone in arlong park is so funny. he got nearly cut in half like two days ago, and instead of just leaving like a normal person when nami gives him the chance, he chooses to wipe the floor with all the fishmen around and then hang out on arlong’s throne. also, that shirt isn’t his. he stole it. presumably off one of the guys whose asses he just kicked. 

there’s really something to be said about nami’s expressions in arlong park. she’s clearly acting to an extent in most of her scenes prior to her breakdown, but at the same time, god, it really doesn’t look like it. nami in this arc is a really great example of reread value- on a reread, all her coldness and cruelty becomes barely-restrained pain and desperation. 

i really, really love one piece’s sibling relationships. and there might be a little bit of bias here, because i’m a big sister myself, but i love how varied they are, how real they feel, both adopted and biological. nami and nojiko don’t agree on everything, and they come into conflict more than once, but at the same time it’s plain they love each other so so much. 

bellemere is up there as one of my favorite flashback characters, together with corazon and roger. i love her a lot. 

i’m not even doing a thorough reread for this post, just skimming through volumes and picking out moments, and genzo telling nami that she’s fought well and there’s nothing more she can do still made me cry. 

nami has been fighting on her own for eight years, with the lives of her entire village and her only remaining family resting on her shoulders, with them unable to do anything but watch as she runs herself into the ground for them. this is where they decide they’d rather all die than have to see her start all over from scratch for them. 

arlong park is an amazingly written arc, and it pummels my heart in a new and different way every time. 

i really like that zoro, sanji and usopp all follow luffy’s lead in how he chooses to handle the arlong park situation. luffy waits for nami to ask for help, and as soon as she finally does, it cuts around to show that it’s not just luffy there- all four of them were just waiting for her word. it’s the first time the crew is entirely united for a common goal, and it feels really good. 

i really am never gonna shut up about usopp’s character development, huh. 

i really like the way the scene of him getting up the nerve to face down chuu is constructed- him rehearsing excuses and explanations cut together with memories of his crewmates (and on the next page, later the cocoyashi villagers as well), moments of theirs that he obviously admires. the one that hits me the hardest is him thinking of nami, in the moment she stabbed herself to save his life. that’s how he gets up his courage- from his admiration and respect for his crewmates’ bravery.

i think about this moment a lot. it’s one of my favorite luffy moments, and also one of the ones i think is most representative of him as a character. he’s such a delightful, laid-back person most of the time, but he loves the people he’s decided are his so much, and god help you if you hurt them. 

i think about this a lot, too. 

luffy is dumb as rocks in a lot of ways, but he’s pretty damn intuitive when it comes to people. he handles nami’s situation in exactly the right way, by waiting for her to ask for help instead of just barging unasked into the war she’s been fighting alone for years, and he handles this exactly right, too- by destroying what’s effectively her prison cell in a permanent, visible way, where she can see and know that she’ll never have to sit at that desk ever, ever again.

i just- i love luffy, so much. 

i talked about oda’s use of negative space to emphasize heavy, impactful moments in the last post, and this is maybe the best example of it yet in the story. look at this panel: the future pirate king, the stand where the last one died, and absolutely nothing else but empty space and luffy’s words: this is where the great pirate era began.

the theming of beginnings and endings in loguetown is so, so good, and it could almost be summed up with this panel alone. it’s at once the ending of the story’s east blue prologue and a new beginning- the beginning of the crew’s infamous reputations, of the quest for the one piece proper, of the entire wider story that opens up with the entry into the grand line. the end of roger’s era, and the start of luffy’s.

i love the atmosphere of loguetown so dearly. the thunder strike at the last moment, maybe a rescue and maybe sheer luck; the raging storm, the vow over the barrel, the declaration of dreams. i’ve said this before- there’s something so romantic about it, in the old-fashioned arthurian sense one piece uses the word. 

and we’re off for the grand line!

[orlissa]

So now we have “BatCatPussyGate” or whatever, and I have some thoughts on it—I mean, it does intersect with my area of research.

In case you missed it: a scene where Batman goes down on Catwoman was not included in the Harley Quinn animated series, because, basically, a Batman who gives oral is bad marketing, and makes merchandise hard to sell (they did use the word “toy” in the statement, but you just know they meant action figures aka collectibles aka whatever older male fans buy). It is not even the first such scandal involving Batman in recent years, but we’ll get to that later.

There is a LOT to unpack here, so let’s get started. I’ll try to make it as coherent as I can, but this post still might be a bit of a mess.

First of all, we have to make one thing clear in which Marvel and DC differ from each other (I think I might have talked about this before, but it bears repeating): it’s what I like to call “hierarchical structure of characters.” Basically, Marvel’s structure is like the nervous system: there are interconnected nodes, but no one, clearly defined center. The Avengers are important, but so are the X-Men, and Spider-Man, and the Fantastic Four… Plus Wolverine has been an X-Man and an Avenger, Spider-Man has his own lore, but he has been a member of the F4… you get the picture. A big pro of this structure is if that one node falls (a series doesn’t sell), it’s no big deal, because the system remains standing, so, basically, you can experiment with stories. If it doesn’t stick, it doesn’t stick, you move on. DC’s structure, on the other hand, is more like a spider web: you have the Holy Trinity—Superman, Batman, Wonder Woman—in the middle, and everything else connects through them. And if the center falls… everything falls. Which means that even though the Holy Trinity has HUGE cultural visibility (greater than of any single Marvel character), they are pretty much set in their ways. They cannot change much, because what they are now is what sells, and any significant change in representation might lead to failure, which then in turn would lead to the failure of the whole spider web. (I have a like 40 pages long paper on how, because of this, Wonder Woman needs to continuously appeal to both the male—sexualizing male gaze—and the female—identifying female gaze—gazes, compared to Carol Danvers, who keeps jumping between the two ends throughout her publication history.)

And within this scheme, Batman is the picture of hypermasculinity. He is powerful, intelligent, cannot do wrong, closed off from his emotions, and women fall for him, even if he cannot properly commit to a romantic relationship (this last thing is something that goes back to the Silver Age of comics, because male heroes just cannot have love, because nothing can be more important than their vigilantism, while female superheroes are lesser, because they are ready to hang up their capes for love).

Then what does academia has to say about this? Note: I’m going to be talking a lot about stuff that film criticism came up with, but since both movies and comics are a visual narrative medium, I’ve found that you can pretty much project everything about movies to comics.

So, first of all, one big shortcoming of feminist film criticism is that (not entirely unjustly) it is mostly focused on how women are portrayed in movies—especially how they are oppressed and objectified, while it leaves men/male characters… unstudied. Masculinity studies exists, but it’s pretty new and marginal. The availability of male bodies in film to the female gaze is also mostly unexamined (but I’ve dabbled in it! Talking about sexy male bodies in a detached academic manner is fun!), and it’s somewhat of a problem.

Richard Dyer studied the peculiarities of male pinups, and he came up with three instabilities: 1, it violates the codes of looking (because traditionally it’s the men who look, and women who are being looked at), 2, it rejects passivity (because being looked at is read as being passive, and the male body is supposed to be active, so, usually, male and female pinups are posed in a totally different way), and 3, it breaks the myth of the phallus (male power signified by the penis)—because once we start looking into it, we’ll discover that the phallus just… cannot live up to the hype. Therefore not studying the male body/male presence and focusing on the female body/presence actually serves the patriarchy, because the phallus can only keep its central, dominant position until it remains unexamined. Once we look into it, we discover that it’s not that great, and then we can displace patriarchy.

And then what does it mean in practice? Here comes the other Batman scandal I mentioned: about three years ago, DC came up with their new line of comics, where the big draw was the total lack of censoring. It was promised to be super bloody and full of gore and cursing and stuff. The first series of this line was Batman Damned, and the first issue featured the… batawang. I mean Batman’s penis. Returning from some mission, Batman starts undressing the moment he steps into the Batcave, stripping naked, and on some panels one can clearly see… little Bruce. It had no point. It could have easily been brushed out, and it would not have looked out of place. Or course, the internet had a field day with it, about the same way they are having a field day with his lack of oral sex now. It grew so big that within a couple of days DC announced that they’d airbrush out the batawang in the second printing and in any subsequently sold digital editions (which then caused the price of the first print editions skyrocket, to some $300, I believe). So to sum up: DC showed Batman’s penis for shock value. Seeing Batman’s penis wasn’t awe-inspiring, a show of power, but the butt of the joke—because examining the phallus shows that it cannot live up to the hype! So Batman’s power, his standing as a masculine ideal/male power fantasy was misplaced in a moment. (Something similar was happening behind the scenes of the Watchmen series as well: when Tom Mison had a full frontal nude scene, they actually used a penis-double—as there was no shot where his face and penis was shown at the same time—now imagine the casting for that role!)

In some way, this is happening now as well—not showing Batman performing oral sex is not because it “hurts toy sales;” it’s because it breaks the myth of the phallus, thus it breaks the myth of the Batman as an immaculate male power fantasy. Batman receives—power, admiration, and, of course, sex. But within the framework of sex, he needs to be the one that dominates, the one that mostly on the receiving end of the pleasure. What is important is that 1, he gets the woman and 2, he gets off. Whether the woman gets off is unimportant within this framework, because it doesn’t serve the myth of Batman/the male power fantasy. Within the fantasy, women need to want to sleep with him because he is Batman (because the male reader identifies with Batman, and he needs to feels as if the women in the comic want him just because he is him/Batman), but if he performs oral sex on the woman, it presupposes an active need for effort from his part from her to want him. It gives her agency, which elevates her to a partner, not an object to-be-looked-at.

So if Batman performs oral sex, his body will be put on display as something beyond the realm of the male power fantasy; it will be examined, and thus determined he is not all-powerful. His dominance within the narrative will be questioned. The role of the woman will be elevated. The patriarchal dominance displaced. So, yeah, that’s why Batman can’t give oral—not because it will hurt the toy sales.

I mean, it might. But because it will hurt Batman as a hypermasculine ideal

[deanisridingapolarbear-blog]

So King in Black: Wiccan and Hulkling huh?

I’m having very very mixed feelings about this issue.

Rushed and frustration are the main things that come to my mind now. Second would be wasted potential. So much wasted potential.

I totally agree with @bladorthin​ (his very good post here, sums up lot of my thinking too) Billy was so OOC during this issue. I don’t have anything to add to it because bladorthin just summed it all up so well. Though I’d point out Billy would never be that mean to Lauri-El, like sure he might make the date joke/suggestion but not in that manner. Rather I could see Billy going into it full-heartedly and in a loving way, and then in the middle of the action stressing how Lauri-Ell’s date is being ruined (as well as his honeymoon).

Teddy was Teddy, however I think the art lacked emotional touch in some way. Like I felt the dialogue and Teddy’s actions were spot on Teddy but something with the art did not manage to resonate all the feelings to me in a deeper way. Can’t really explain it but hope you get what I mean. 

I have to admit I wasn’t eagerly anticipating this art in any way but sadly it wasn’t the biggest issue. Still not my favourite style (honestly though after Valerio last year can you be truly happy with anything else?) but it had some good moments too. Liked the way the symbiots were drawn (then again I’ve always found Venom cool so not sure you could ruin that aesthetic for me) but yeah I felt that some scenes didn’t come off, especially jokes and such, as well as they could have. Generally the way the facial expressions were drawn were somehow, I don’t know, cold and aggressive, not the right words but just yeah can’t really put my finger on it.

Then the jokes god the jokes. I’m going to be honest I’d be the person to buy into those jokes. I’d have loved and laughed at those moments of “I just wanted champagne” or “This was not a pants wearing holiday” jokes. And I’ll admit I did laugh at Billy’s notion on the pants as well as these panels made me laugh. (loved the eyes Teddy was giving at Billy because that is so in character “sneaky” Teddy to me)

Then I noticed the phone on Billy’s hand and was like “no you ruined it”, which demonstrates the biggest problem with this issue. The potential for good witty humour was obviously there but it was so badly misplaced and used that you are just frustrated. Instead of Billy and Teddy both saying something like “No champagne then huh?” when seeing the symbiots or having those “Finally alone!” excited scenes before shit goes down/someone interrupts them, it was done in the manner that they were set against each other and making some odd differentiating them thingie. Because honestly the lads would do those jokes, the humour is the thing they share the most imho and usually they are presented placing it well and according to each other’s feelings! Also a bit more expressive art could have helped with these as well.

Then the rushing, I think everything moved really fast. Not sure if it’s just my tired ass brain after subbing second graders but the pace was so fast that it made it all somehow anti-climactic. I’d say having more than one issue for this story might have resolved a lot of the issues (or just created more who knows), to have slower pacing and make especially Billy’s motives deeper might have made Billy less OOC even? It would have also allowed time for just more emotional presentation of the whole symbiots taking over the Kree and Skrull soldiers. Could have created more appropriate placing for those champagne and alone jokes. Just all in all too fast pace that did not serve the story at all.

This issue could have had such a good opportunity to explore the friction of Billy and Teddy growing to their new roles and working around to accept each other’s new roles and figure out their relationship now with all the changes. And to be funny/witty at the same time. It kind of tried and there was that potential but it just…. I don’t even know how it could go this wrong this way like. I say it’s the lack of diving into your characters and actually knowing them.

Lastly, things I did like. Billy and Teddy’s outfits when Billy shared his light so pretty!

And this scene was so pretty and there was that potential behind that to be such a meaningful and beautiful scene, but because nothing else supported it in the story well enough it just fell flat. 

Also really liked Billy’s onesie here, you know I just take every opportunity to appreciate it when it’s done this nicely (and without the cape holy moly!)

But I can’t stress how mad I am about the fact that the only thing I thought I could have enjoyed, which was Billy’s child-like excitement over the champagne robot, was ruined this way. It could have been so fun and adorable! I deserved to see it and enjoy it fully but no!

P.S. Why do I get the feeling either Howard or the artist are not comfortable with actual intimate scenes. Teddy jumping up and looking like an innocent child the first time Lauri-Ell interrupts them and then the ending like that? Proper fading to black if you ask me. 

[makeste]

not a cavalcade of Katsuki panels

damn, anon. you stone cold came for me with that last part. and just fyi to all onlookers, this was before I had posted the headcanons ask proving this exact point lmao.

but a challenge has been issued now! so I will do my best to pick a variety of impartial panels featuring a veritable medley of characters. not sure I can really provide much in the way of insightful analysis of symbolism and metaphors and stuff, but I can certainly type a lot of words about the pretty pictures, and about how cool people look when they’re standing around all serious surrounded by clouds of billowing smoke.

why I like it: I figured we’d start off strong. no point in holding back. can the other panels possibly even hope to compete. maybe. we’ll see.

why I like it: because, you see, he punched a giant robot, and it exploded. you see that, there? and the text was all “SMAASH” in humongous comic book letters, and it was pretty cool. also Deku is very tiny and the robot is very big. and just to clarify, most of the time if a tiny fifteen-year-old child tries to punch an 80-foot robot, it’s not actually going to go all that well, and the robot probably will not explode. but in this case it did! and so this is a very novel and unexpected outcome, which makes it all the more visually striking, which is a very good thing to be when you are trying to show off the brand new superpower which your protagonist just inherited, and letting people see it in action for the very first time.

why I like it: so you may have noticed we just skipped a whoooole bunch of chapters lol. this is because there are almost 300 of them, and so I’m going to have to use a bit of discretion. anyway so this is a gorgeous panel. just, everything about it. the lighting; the expressions; Shouto’s hesitation; and his mom facing away, not looking back yet, and us not yet knowing how she’ll react. and the fact that they’re visually separated by as much distance as possible -- at opposite ends of a two-page spread -- and yet they’re so close, closer than they’ve been in years. mm. anyway it’s pretty.

why I like it: first of all because there’s nothing like seeing a deserving character get punched in the fucking face, and few characters IMO have been as deserving as Stain. and second because this is Deku, showing up to save the day out of nowhere at the last minute, because excuse you, but he’s a motherfuckin’ hero. sorry to interrupt your evening plans of stabbing a kid while lecturing him about why, philosophically, he deserves to die. but I’ve got a package here for a Mister Stain. it’s from Mister Smaassh, with two A’s and three S’s.

why I like it: fyi, anon said nothing about a cavalcade of BakuDeku panels. you didn’t think I’d let that loophole go to waste, did you? but nonetheless I will try to restrain myself until we get to the second ground beta fight. anyway, I like this panel because All Might’s canonically 7′2″ self looks about twelve feet tall here, and he is just TOWERING over these two boys, who’ve been tasked with somehow outwitting him during this curiously sadistic final exam. and it’s just an interesting perspective, because we know they both look up to him, and here they are physically looking way, way up, up, up at him.

why I like it: now this is how you do a villain entrance. I love absolutely everything about this. the sheer scale of destruction, and the way he’s just sort of casually hanging out there in the middle of the panel almost dwarfed by all this dust and smoke and carnage, and yet is unquestionably the focus of the page. the way that you can’t actually see his face, not yet. not until the end of the chapter. the way the clouds are drifting so calmly and peacefully in the night sky in stark contrast to the horrific events that are about to take place on the ground. this panel gives me literal chills, especially when I think about All for One’s creepy theme music playing in the background.

why I like it: this panel is so iconic to me that it’s one of the first ones I immediately knew I had to go and find when I got this ask. this entire fight is perfection from start to finish, and there are other panels that are more artistically striking if I’m being honest (in particular, the ones where he’s half-transformed with his face perfectly split down the middle between Muscle Might and Skinny Steve). but there’s just something about his determination in this panel, though. something about the fire in his eyes, and the way he clenches his fist. “my heart is still the heart of the Symbol of Peace.” I remember being sooooo fucking anxious when his true form was revealed, wondering if this was it, if the people watching were going to turn on him, if he was going to lose both the fight and their faith. turns out I was wrong on both accounts. basically what I am trying to tell you guys is that this panel was and is still the most badass thing I’ve ever seen.

why I like it: because he’s just a frail old man doing what he can to protect the last flickering embers of the thing that enables him to fight on. there’s something so fucking desperate and yet so determined about this image. he knows it’s futile, but still he persists.

why I like it: damn it was hard to find a “you’re next” panel with just the right angle I like best. this is probably as close as it gets, but I kind of wish Deku was somehow visible in this image as well. but at any rate this is an amazing moment, and All Might is dramatic af for basically no reason but IT’S BADASS. “no I’m not going to actually look where I’m pointing. it’s cooler this way.” or was it because he wasn’t sure if he could keep the emotion off of his face if he actually turned and looked? in this moment of knowing that it was finally over for him, that he would never be the Symbol again, and knowing that he had no choice but to move on and entrust that burden to the next generation? damn.

why I like it: I... fucking... okay, here’s a fun fact. did you know that I still get emotional over this panel almost a full two years after reading it?? obviously a good 84% of it is the context -- All Might losing his power; Deku being forced to take up the mantle before he feels ready; All Might feeling responsible for him; and both of them being so desperately grateful to have each other in that moment. but don’t underestimate that remaining 16% either though! this is just an extremely well-drawn hug, on top of everything else. All Might pressing Deku’s head to his shoulder with his fingers laced in his hair is some mighty fine fiercely protective hug tropes there, you guys. and the way Deku is clinging to his shirt so tightly his knuckles have probably gone white?? while he cries?? while both of them cry? ON THE BEACH? WITH THE WAVES LAPPING SOFTLY AT THE SHORE IN THE PEACEFUL NIGHT AIR?? jesus fucking christ. this hug contains more emotions than I am capable of carrying inside me at once. I just sort of have to let them flow in and out little by little until they finally subside.

why I like it: you bet I skipped right from Kamino straight to Deku VS Kacchan Part 2. no regrets. anyway, so these two panels are an absolutely gorgeous one-two punch. so much has changed from the days when they were innocent little kids marching off into the woods to have adventures. they’ve changed. their relationship has changed. and yet, at the end of the day, Izuku is still willing to follow Katsuki even without being given any kind of explanation. and Katsuki still seeks out Izuku when he’s on the verge of having a spectacular emotional breakdown. because he doesn’t know who else to turn to. and because despite everything, there is trust there still, on some deep, fundamental level neither of them fully understands or knows how to acknowledge. anyway, so these two panels just give me a ton of feels all about the passage of time and how everything changes and how you can’t get back what’s lost, but also sometimes if you look deep enough you find that parts of it were never fully gone.

why I like it: because in a striking display of dramatic main character energy, these boys decided to stage their life-changing destiny-affirming rival fight on the coolest possible stage in the middle of the goddamn night. and then Katsuki made it even better by producing WAY MORE SMOKE than his attack by all rights should have produced! and then they went and crouched down all symmetrically so as to more poetically make intense eye contact at each other. I really like panels with smoke and/or dust clearing dramatically. there are like four more of them coming up on this list. what can I say. it’s cinematic.

why I like it: I actually had this one as my icon for a while. it’s rare imo to see an action panel that’s so balanced and has so much going on and is so clean and easy to read. both of their poses are so dynamic. I like the way the arc of Izuku’s kick is drawn, and I love the way you can clearly see that Katsuki propelled himself backwards with his quirk in order to dodge it. it’s just a really cool little panel that for me perfectly sums up the general feel of this fight, and its awesome choreography.

why I like it: actually you know what, before I go any further, let me skip ahead a bit and add three more panels with this same energy.

I just really, really love these rare moments when all differences between them are momentarily forgotten and they’re just two teenage boys caught up in the intense pressure of an awkward social situation. the one enemy neither of them is the least bit equipped to handle. anyways Horikoshi clearly enjoys it too because he seems to delight in drawing it over and over and over.

why I like it: because it’s more billowing smoke and dust. because it’s Endeavor, the guy we all swore we would never ever root for, and then 160 chapters later Horikoshi pulls this shit without an ounce of shame. because it’s All Might’s pose, but tweaked juuuuuust enough so that Enji can avoid copyright claims. because he knew that pose well enough to know which arm not to use. because Endeavor is a profoundly flawed human being, wholly incapable of filling the void All Might left behind. and yet he still tries. because it’s better than nothing, and because it’s all he can do. it’s the one thing he can do, his sole redeeming virtue. he tries. he doesn’t give up. anyway so yeah, Horikoshi didn’t have to take the single most unlikable person in the entire manga and give him the world’s most controversial and openly scorned redemption arc. but he did! and I think it’s one of the best things about this entire manga.

why I like it: because nothing in BnHA is just black and white!! it’s messy and layered and complex, just like in the real world. Shouto despised his dad for almost his entire life. with good reason! Enji was abusive and selfish and treated his son more like a prized possession than a person. we as readers are fully aware of all of this, and we sympathize with Shouto 100%, and that’s completely by design. Horikoshi is well aware of this. so for him to still give us this little moment, where Shouto is so relieved that Enji survived that he drops to the floor and presses his face against his hands in this little prayer gesture -- whatever you think it might mean -- is just so fucking powerful, and again speaks to his commitment to refusing to let anything in this series be completely clear-cut and unambiguous. I love that the characterization of Shouto and Natsu hating their dad exists side by side with the equally authentic characterization of them being terrified that they’re about to watch him die. because those two things aren’t contradictory! sometimes that’s just how it is. anyway so this is a beautiful moment of nuance that instantly adds so much to this relationship with just a single panel.

why I like it: for once the symbolism is so obvious that even I can’t fail to miss it! Izuku’s face half in light and half in shadow as he thinks about the power bestowed on him. “All for One’s power.” anyway so in my mind Izuku having AFO could not be any more fucking foreshadowed if he was wearing a freaking t-shirt with the Musketeers saying on it and the background was peppered with little Sistine Chapel-esque images of AFO giving his quirk to his brother lmao. but regardless of how it does end up playing out, this is nicely done.

why I like it: I wasn’t sure whether I should include this image, given that I just made a whole separate post about it a few days ago. but I just really like it, okay. this is one of the all-time great entrances in the series. Bakugou being perched on that pole for absolutely no reason other than to add visual interest. Todoroki’s hair blowing dramatically in the wind. Katsuki’s frayed pant hems and characteristically asymmetrical facial expression. the fact that you just know both of them spent the ride home with their faces pressed to the windows of their taxi cab hoping desperately for an opportunity to break in their brand new licenses, and then lo and behold. that’s amazing you guys. it’s almost like you’re main characters or something.

why I like it: they did great.

why I like it: because I lost my fucking shit at this fucking reveal and can you even blame me?? we knew coming in how much trouble Endeavor and Hawks had dealing with just one of these Noumus, and then Horikoshi goes and divulges that the villains have at least A DOZEN MORE waiting on standby. including Hood right there in the foreground, which is a fantastic touch! this panel, for me, almost instantaneously established the League as a legitimate threat once again, and gave me the kind of spine-tingly evil vibes I hadn’t felt since the Kamino arc. and while the payoff might not quite have lived up to my expectations, the Mirko fight at least was more than worth it.

why I like it: BILLOWING SMOKE AND DUST CLOUDS. you just see this vast landscape of destruction that Tomura has oh-so-casually wrought, and this once-powerful enemy utterly defeated on his hands and knees bowing before him. and it’s just like, oh. Tomura just became a fucking king, didn’t he. he finally stepped up and became the main villain. really the main villain, not just an awkward fumbling NEET whose adopted dad is not-so-secretly pulling all the strings. he did this himself. he went out and conquered and Awakened and won himself a fucking army. and he’s just standing there so cool and casual in the aftermath of it all. and then he goes “oh wait, you guys have money right, that means you can buy us the good sushi.” yes, Tomura. yes.

why I like it: um because this panel is fucking amazing?? hello?? do I really need to explain this one. the detail is jaw-dropping. he’s got the little scars which are either from the head wound that caused his death, or from his Noumufication. his expression is fucking heartbreaking, and the transition from Kumo to Kuro is so subtle and seamless, and yet it distinctly is both of them. this panel is gorgeous and fucking haunting and almost made me gasp when I first saw it.

why I like it: the decision to have the night sky take up so much of the space in the panel was [chef kiss]. nothing says existential like the night sky on a cold winter’s night.

why I like it: this is the best panel in the entire fucking series.

why I like it: dude. showing his actual family holding onto him with their hands in the same spot as the severed fashion!hands was a stroke of genius in and of itself. but combining that with the emotional tension of them desperately trying to hold him back and protect him from AFO?? that’s just so fucking smooth it’s almost inhuman. just how much meaning can you cram into a single image?? sometimes I wonder just how far in advance Horikoshi plans these things.

why I like it: guess I’m just a big fat sucker for panels of Tomura calmly standing around in the ruins of his own senseless destruction. the sense of scale on this one is really great, too. and yet again, those dust clouds. gotta love it.

why I like it: because Tomura literally appears out of nowhere, like he’s ripping a hole through the fabric of time and space. it’s so fucking sudden and he looks evil as FUCK, and Deku and Kacchan are totally caught off-guard, and it is scary. this is one of those panels that made me say “holy shit” out loud. in fact I practically screamed it. and the angles are all funky and weird, and the sky is all BLACK FOR NO REASON, and it really just feels like Tomura could reach right over and just MURDER THEM like it was nothing. just like that. this panel is so incredibly effective at conveying how hopelessly outclassed the boys are. they’re not even in his league, and it’s honestly terrifying.

and on that happy note, we have come to the end of my list of favorite panels! and I gotta say, it’s really gratifying that a good deal of them are from this year alone. I said it in another post a few days ago, but imo the overall quality of the series has been insanely high as of late, and it honestly just blows my mind whenever I stop to think about it. the art is still this good six years into the game. the story is still this good. we are spoiled goddammit.

[saladejin]

Broken | Seokjin (M)

Seokjin x Reader | idolverse au, established boyfriend!Seokjin | Pining, rough smut, fluffy undertones 

Summary:  Free time is hard to come by for the two of you, but soon another problem arises in the form of his beloved bandmates.

Warnings: Rough sex, swearing, mature and explicit themes, wet dreams 

Word Count: 4.9k

<< masterlist

* Request from my Ao3 series ‘Movie Night’.

~

Skin tingling with excitement and breaths coming out in short gasps, your hands found purchase buried deep within his thick strands of hair.

His lips melded themselves to your own while his fingers roamed your figure expertly. He knew exactly where to touch to turn you into a whimpering mess, and he would never stop learning. It was like your body was a panel of buttons, and he the curious child wanting nothing more than to find out what each and every one did. 

“Baby…”

The man slowly grinding his hips into your clothed core didn’t respond to your plead. You wondered if his brain was too occupied, because you knew yours was surely gone. Your fingers traced the firm outlines of his abdominal muscles and travelled upwards to use his wide shoulders for leverage. You could hear his hurried and shallow breathing the more you swivelled your hips to create the desired friction.

Another moan tore from you when you felt his hands moving everywhere at once. Their familiar warmth cupping your aching sex attentively. You arched at the memory of his fingers trailing the sensitive outlines and openings. 

“Seokjin, I need you,” You gasped, looking upwards but feeling frustrated that the shadows masked the face of your lover.

You reached forwards for him, eager to have him in any way you possibly could…

~  

Oh to hell with it all!

Reality was fucking harsh. You awoke with groan of disapproval and shifted your sweaty body around in the sheets hesitantly. Just as expected, you felt a certain slickness coating the insides of your thighs again.

This was literally the third sex dream you had conjured up in the past week or so. Each time you snapped open your eyes to find yourself cold and alone in your bed, you felt the wave of disappointment washing over you growing stronger. God, you missed him.

I just want him back in my arms. I just want him.

You sighed as you imagined the smiling face of your long-term boyfriend, the one and only Kim Seokjin of BTS. Life was pretty hectic considering you both worked taxing jobs, with him being a world famous idol and you being a full-time teacher at a private academy a fair drive away. Time had become very difficult for you both to find, but lately Seokjin’s had completely cancelled out when the band began promoting their new album overseas. After that, the bucket-loads of fame brought on caused even more difficulty and restriction on you both.

If it wasn’t for the strong bond and resilience you both upheld, the relationship would have broken to pieces a long time ago.

You grabbed your phone from the nightstand and got up to start the day, trying to ignore the sexual frustration tearing at your insides. A tiny light winked at you from the screen’s surface.

“Good morning my love, I hope you slept well x”

You felt the fluffy warmth spread through you as you reread his text again, but rolled your eyes when you thought about how you actually slept.

Should I let him know? It would probably cause problems.

You shrugged because caution had never been a part of your relationship in the first place. Direct teasing was what created so much of the chemistry between the both of you, and it was almost always much to the disapproval of the other members.

“Good morning! It would have been better if I was getting fucked by the real you and not a dream.”

You watched with an evil cackle as the three little dots appeared and disappeared several times.

“I’ll have to tell my dream-self to do a little better. It’ll only be a few more days until I’m the one breaking the bed again, sweetheart.”

You felt so pathetic for getting turned on by his simple cheesy text, but you were so starved at this point you couldn’t really blame your brain for weakening. He was due to come back to Korea in the next few days, so you really wouldn’t have to long to wait.

“Sounds promising, I’ll order a new one tonight.”

You left the room chuckling quietly to yourself. The weight of his words usually proved fruitful, and the fact that you had both freed up a single weekend was exciting enough. This rarely ever happened so you knew you were both super keen to spend time together for two whole days in a row.

It’s sad to think how even that has become special.

You settled down with your breakfast, already falling into the usual routine of your daily texting with Seokjin. He usually sent you all kinds of funny pictures with the other members, as well as beautiful photos of any places they went. You found yourself having your own private tour each and every day, and you always thought about how caring he was to take all that time out for you.

Not for long. Soon, (Y/n), soon you won’t need to see anything but the bedroom.

You really needed to clear your sex-driven mind.

~

The door swung open and you threw yourself into Seokjin’s arms without hesitation. He had arrived back late in the night and had already slept off most of the jet-lag before texting you to let you know he was on his way to your house. You had almost certainly jumped out of your skin in surprise, because even though you knew you were both longing for each other, you still hadn’t been prepared at all.

“Sorry babe, I tried to stop them but they wouldn’t listen,” Seokjin grunted lowly into your ear, and you tried your best to stifle a shiver at the sound to think about the words.

“Noona! It’s great to see you!” A voice boomed, and you leaned back from the broad chest of your boyfriend to see Taehyung, Jimin and Hoseok filtering in behind him.

“Guys, oh! How have you been?”

You moved to give them all friendly hugs, hoping to mask your utter shock. You glanced behind to see Seokjin gritting his teeth in cleverly hidden annoyance, but you knew him too well for it to be completely invisible. There were slight bags underneath his beautiful brown eyes.

He probably didn’t even tell the boys no, knowing how much they’ve wanted to visit lately.

You invited everyone inside and offered drinks immediately. The fun chatter built up and you left the bustling boys to themselves to go and get some water for them. If you had known they were coming and staying for a while, maybe you wouldn’t have been so quick to throw on the horribly risky lingerie set you’d bought a few weeks ago.

Soft footsteps sounded behind you and suddenly your body was being turned around to press backwards into the kitchen bench. You ran your arms up to loop around Seokjin’s neck, grateful that the kitchen was walled off from the other guys and their watchful eyes.

“I wanted to come here alone,” Seokjin exhaled, seemingly in a daze as he moved one of his hands down to grasp loosely at your waist. You ignored the fire spreading from his subtle touch and craned forward to press a loving kiss to his plump lips.

“I missed you so much, I wouldn’t care if you brought your whole fanbase with you.” You blinked pointedly.

He cracked a smile and pressed another tender kiss to your lips, the wet sound echoing through your mind jarringly. You knew if you focused your attention on his uneven breathing you would lose what little control you had left. It was bad enough that he had started to push his body further into yours as the seconds drew onwards.

“I haven’t had you in so long,” he sighed and sunk his teeth into his bottom lip, eyebrows furrowing as he tried to lean in and close any distance you might have had. You felt the heat pooling in your lower regions like some kind of dam had broken. His needy and darkened gaze called for your touch and attention loudly.

“(Y/n)-noona? We brought you a gift from America, do you want to open it now?” Jimin’s voice called from the living room. You realised with a jolt how filthy the current scene would seem, as Seokjin almost had you sprawled out on the surface of the bench. You probably would’ve let him take you right then and there too.

You looked at your beloved boyfriend knowingly before squeezing his biceps in reassurance and pushing off the edge of the counter. His loud disappointed sigh basically summed up your entire mood, but you knew you still had the whole upcoming weekend to yourselves.

“Coming!” You smiled tightly, preparing to walk out with the glasses of water in hand.

“Well fuck, you could be,” came Seokjin’s irritated mumble.

You tried your best to fight down the sparks of arousal at hearing his angry rasp behind you, but it was all pointless in the end. Your level-headed boyfriend bickered with others quite often, but when he was actually angry, boy that was another story.

Last time you had seen him that worked up, it had been over how he couldn’t get a certain dance move right even after hours upon hours of practice. He had come over with all his muscles tensed up from the building fury, and when you had offered to relieve his tension, he hadn’t hesitated on fucking you hard into the early hours of the next morning.

That’s a memory I should not be thinking of right now. Next thing I’ll be dropping to my knees right in front of the boys!

You shook your head, trying to concentrate on the words Jimin and Taehyung were speaking as they described each perfume they had discovered and brought back. You were so grateful for their thoughtfulness and thanked them so many times for the presents, but your eyes kept wandering to where Seokjin was sitting with his legs crossed conveniently; his eyes averted and fingers tapping to a random rhythm against the arm of the couch.

It had been way too long. It was almost too much for you to stand being in the same proximity as him, and even if he felt the same there was nothing either of you could really do except wait it out.

~

Your panties were soaking as you smashed in the code for Bangtan’s dorm. Seokjin had been constantly riling you up for the past hour over text, and now that you had finally managed to make your way over things were very heated for you. Your fingers trembled with adrenaline and you cursed when you accidentally punched in the wrong number more than once.

He had managed to score the whole dorm to himself for a small amount of time. This was an absolute triumph, because even though you had both freed up the weekend, escaping the members was truly another task in itself.

“Jin I-”

“Baby I’m so glad you’re here!” Seokjin’s noticeably forced shout caused you to stop in your tracks. The shock tightened its grip as you realised you definitely weren’t alone.

Your boyfriend sat on the couch surrounded by his smiling bandmates who were joking amongst themselves, but you knew by his painfully apologetic eyes and conspicuously placed couch cushion that this hadn’t been planned at all.

“Hey noona, we finished practice early so we could have a movie night!” Jungkook greeted as he jumped up to hug you warmly. You just couldn’t let the disappointment hang around for long when this bunny made an appearance.

“Hey Kook-ah.” You smiled sharply, trying to edge away from him so he wouldn’t accidentally feel what you were wearing underneath.

Fuck, Seokjin knows what it looks like too…

You locked eyes with your boyfriend and you both silently conveyed a sorrowful message.

Yes, you would need to do some more waiting apparently. Children were high maintenance, but you knew if this would’ve gone completely your way you would have dragged him into the nearest bedroom and ridden him like your life depended on it.

Sometimes he was just so caring it hurt; quite literally in your case if your weeping pussy had anything to say about it.

“Um, so what are we watching?” you asked through clenched teeth, smoothing down your skirt in hopes of hiding any ‘evidence’. You looked up again to see Yoongi slouched deep in his armchair and felt your heart thump when his piercing eyes flickered from you to Seokjin knowingly.

Shit, I forgot how perceptive this guy was.

You could see the hints of a half-amused smirk tugging at the rapper’s lips, and the fact that Seokjin’s cheeks were reddening gave away that he had noticed too. You had no time to feel the mortification creep up on you since the younger ones were already dragging you towards the couch.

“We picked a great action one, you’ll love it,” Taehyung rushed excitedly and barely even gave you time to comprehend what he was saying.

“Sorry we haven’t got enough room on the couch,” Jimin clicked his tongue, eyes scanning the room intently for a spare spot. You smiled and opened your mouth to say you were fine on the floor, but someone slipped in before you could speak.

“It’s fine, she can just sit on Seokjin’s lap like she always does. They’re together after all,” Yoongi suggested while craftily masking his intentions under a smile. You saw the way the smirk still poked through his guise all the same.

This sneaky bastard.

But you would admit, this had created the perfect opportunity to tease your boyfriend a little. Usually you wouldn’t hesitate at the chance, but this time you knew you would probably suffer just as badly. Seokjin met your eyes and gave the tiniest shake of his head in warning, there was no way he would be able to handle himself if your ass was pressing itself against his rock hard cock.

“Guess there’s nothing wrong with that.” You shrugged and watched as Jin’s expression crumbled into one of darkness and defeat. You knew exactly what was in store for you, and you loved it.

Yoongi covered the bottom of his face with one hand to muffle the chuckle threatening to break past. You smiled towards Hoseok and Namjoon on the other couch before strolling over and glancing down at your boyfriend with lidded eyes. He opened his arms for you, just as usual, but you felt the vital difference as soon as you sat down onto his muscled thighs.

A deep exhale brushed past your ear as he shifted underneath you, and every inch of your skin tingled with heat as you felt the prominent outline twitch suddenly. He was so aroused it was almost too much for even you to bear.

“Please try to stop moving, please (Y/n),” he blew into your ear almost silently. You couldn’t suppress the shiver that racked your form at the sensation of his breath, but this only caused a tiny grunt to fall from his lips. Damn, you were both way too sensitive to each other tonight, and Yoongi knew it too. The sly fox only sat there watching you two with the biggest shit-eating grin you had ever seen.

“Okay it’s getting good, everyone be quiet from now on.” Jungkook brought a finger to his lips, bunny eyes gleaming with enthusiasm as he grabbed Taehyung’s arm and ran to sit back down on the floor. Seokjin had his head bent forward to rest against your back as his whole body tensed up. You knew he was struggling to keep himself together.

“(Y/n) I’m about to lose it, stop fucking moving.” He shuddered as you unintentionally moved to get more comfortable. You just knew he was about to reach the breaking point, but he would regret everything if he exposed you both so quickly, so you reached to squeeze his hand in reassurance.

“Not here. Come over after the movie and we’ll make it real good,” you leaned down to whisper almost silently into his ear so nobody else could overhear. His lip was bitten as he registered the words, the tension from the implied promise hanging thickly in the air. If he had really wanted to calm himself down he would’ve sat on the floor himself not even minutes in.

You almost squeaked when he rolled his hips slowly upwards just once. Just small enough so you could feel what was waiting for you, but not noticeable to anyone else in the room. Even Yoongi had shifted his attention to the movie and had forgotten about the two horny beings sitting on the couch barely two metres away.  

Minutes flew by as you struggled to keep your attention anywhere else, but you kept failing time and time again.

“Hey Jin-hyung?”

Your heart skipped a beat as Seokjin’s minuscule grinding came to a halt, a large breath trying to casually leave his lungs.

“Yeah?” His low voice crackled slightly.

“Now that it’s over can you help me with that hour-long vocal training thing you were talking about?” Jimin asked as he got to his feet and dusted off his shirt from the popcorn pieces.

Wait it’s over?

You were aghast as you looked over to see the credits of the movie scrolling down the screen. You had literally been focusing on the hard outlines pressing into your clothed heat the entire time. Now the cold dread and disappointment lodged itself deeply into your chest as you looked back to gauge Seokjin’s response. Your underwear was nothing but a scrap of wet cloth at this point.

“Argh! Fuck this!”

To your utter surprise, you felt two large hands swooping down to pick you up somewhat roughly. Everyone else gaped as Seokjin yanked you into his chest and marched furiously towards the hallway where his bedroom was. You were left to helplessly cling onto his neck as he abducted you away from everyone else.

“What was that about?” Hoseok was quick to pipe up, wondering why his eldest bandmate had gotten so agitated. Jimin quickly held up his hands to show his innocence, but Yoongi and Namjoon exchanged amused glances.

“If I were you, I'd go plug in your headphones.”

~

You were breathing heavily as Seokjin kicked open his already ajar door, not even caring if he made enough noise to alert the whole building.

“Are you okay babe?” you huffed, watching in amazement as he proceeded to close the door by knocking it with his hip sharply. He didn’t utter a word and only growled before throwing you onto the bed.

Excitement crawled up your body as you were suddenly being pressed into the mattress, his lips were on you in an instant, hungry and desperate. Nothing could be heard but your occasional gasps for air as the primal urges took over.

He needed to have you, and you needed to have him inside you as soon as possible. You positively ached for it.

“Sorry, I just can’t waste time right now,” Seokjin grunted, eyebrows still furrowed from the irritation lingering in his mind. You knew this look. This was the look, the one that had gotten you mercilessly drilled for hours on end. Your heart almost stopped at the strong surge of arousal licking at your abdomen.

“No foreplay needed, I’m flooding myself right now.”

He locked eyes with you for one electrifying moment before licking his lips and pulling you close to his heated body. Without warning, he plunged one hand underneath the edge of your skirt to search for proof of your words, and your lusty whimper mingled with his pleased moan as he ran his fingers along the dripping entrance he found there.

“Fuck, I could slip in so easily.”

You eyed the prominent bulge growing even larger in his pants, but couldn’t act because you were now both too busy undressing yourselves. He was as ravenous as a starved dog, and there was barely a moment where he wasn’t marking your skin or leaving wet kisses in his wake. You couldn’t keep your hands to yourself either, and the sinful noises falling from him only drove you onward.

You let out a breathy moan as he flipped you onto your stomach roughly. You caught sight of his tensed muscles briefly, and you knew he was so worked up it was insane, yet exhilarating at the same time.

“How will you take me?” You moved one arm to sweep your hair over your shoulder, letting him see the entire expanse of your arched back and rounded ass on full view.

“Wow, just like this. I can’t make it slow tonight, I want to fuck your brains out (Y/n),” he almost whispered, voice low and raspy with desire. You didn’t need to see his eyes to know they were filled with a familiar fire, but the thought caused a fresh wave of need to hit you full-force, and suddenly a trail of your own hot wetness slid down your thigh.

“My God, are you trying to kill me?” He groaned and you heard the breath leaving his lungs harshly. The ripping of the condom packet made you jump in anticipation. You arched your back further and sighed, completely ready for this bundling ball of pent up frustration to unleash his wrath onto you and your pussy.

His hand smoothed down your back and you felt the tiny hairs rising at the sensation. This upped sensitivity was going to be the death of you both, and you knew he could also tell by the way your thighs trembled with longing.

“Head down, my love.”

With that he thrust forward and made sure to follow through with a smooth grind of his hips. You cried out in pure pleasure as his length eased past your soaking folds with little resistance. You shifted backwards to meet him, but still winced at the somewhat tight fit. It had been a while, but at least you had plenty of time to get accustomed.

“O-oh, oh that’s good,” He moaned painfully above you, but you knew the serenity wouldn’t last. He was too frenzied to stop at any moment. His hands were already gripping firmly at the tops of your thighs to spread your bent legs further apart.

A plethora of bruises later, but I’m not complaining now…

You sunk your teeth into the nearest pillow as he began setting a punishing pace. Your walls were being battered by his cock, and he was hitting that sweet spot so rapidly you were already coming undone beneath him. You angled your body higher and couldn’t help but moan wantonly at how he hit you in even deeper places.

“This is for all the time we could’ve been fucking,” Seokjin growled through gritted teeth. “A whole weekend, this is a whole weekend in one.”

You widened your eyes at his words, feeling tears prick at the corners from the pure amount of pleasure building up in your core. He twisted you so you rotated on his cock to lay on your back again, and only groaned in approval when your head and shoulders were met by his headboard with a dull ‘thud’.

“Don’t hide anything, I don’t care if they hear everything,” he breathed into your ear as he spread your thighs open once more, the surface of your skin visibly glistening with your fluids. He took in the sight eagerly before looking up with darkened eyes. You knew how completely messed up you were, but he looked pretty fucked too with his flushed complexion and shuddering breaths.

You opened your mouth to reply, but he shoved his thick cock back into your heat unexpectedly, and your words came out in a garbled scream. This new missionary angle felt even more deliciously sensitive and deeper.

“That’s it,” he grunted, brows creasing in concentration as he watched every little contortion of your expression.

He fucked hard and fast, not leaving any room for thinking as you climaxed shockingly. Your thighs shook and your whole abdomen clenched as the orgasm racked your form. Your cry of relief could probably be heard by the whole dorm, but you couldn’t let your mind wander to that when Seokjin picked up the pace again.

The feeling of your walls spasming around his length caused his common sense to fly out the window. He lowered his body onto yours so he could enter you quickly and easily, your beautiful and breathy noises edging him further to the edge he so desperately sought.

Your shoulders and back continuously edged further up the headboard as he pounded into you. You could vaguely hear the banging of the wood against the snowy white wall behind, but your attention was ripped away as another orgasm abruptly bloomed and jerked your entire body into uncontrollability.

Seokjin reached up to still your shoulders, throwing his head back in complete ecstasy as he allowed the slow rhythmic rolling of your muscles to send him over. He groaned loudly as he came, abdominal muscles tensing as he breathed deeply and gently moved his hips to ride out the finish. You were a sight to behold below him, eyes closed and swollen lips hanging open in blissful shock. He watched in admiration as your clammy body continued to jolt occasionally from the aftershocks.

No words were spoken, but you felt his lips against your skin through the haze clouding your mind. He tenderly trailed the outlines of your neck and jawline as if saying ‘thank you, I’m sorry’. You only gasped as another wave of sensitivity coursed through you from head to curled toes. You could still feel the heavy weight of him nestled inside you, but you didn’t want him to leave.

“You’re always so good to me baby. I needed that.” He sighed and almost reluctantly pulled out of your soaking folds slowly. You whined as the sharp feeling almost brought you closer to the edge again, but the stimulation was just too much. He inhaled sharply in stunned disbelief and moved to calm you down with soft words of encouragement.

“I-I think that’s the best sex we’ve had. You were amazing and fuck, if that wasn’t the hottest thing I’ve ever experienced,” You breathed out, eyes still closed and one hand resting over your eyes as you tried to see anything other than stars. His deep chuckle sounded from somewhere beside you as he got up to dispose of the condom. You sighed before also getting up to use the toilet and clean up a little.

“If only we could go at it for two days…We waited for so long,” he murmured as you returned from the bathroom to see him pulling on some loose pants. You looked around and found one of his large shirts to throw on before climbing back into bed with him.

“Well considering how rough you were when you were angry, I wouldn’t mind getting you like that more often.” You smirked as you cuddled into his chest, trying your best to ignore the dull ache flaming from your lower regions.

“What? (Y/n) if you wanted me to be rougher all you had to do was ask.” He snorted, reaching down to smooth away some of your hair and pull you further into his arms. You hummed as he pecked tiny kisses down your bare arm.

“Well, I guess I just found out.”

~

The next morning you woke a little earlier than usual. Seokjin still slept soundly as you smiled at the sight of his slightly parted lips and fluttering eyelashes. He was so adorable when he was like this, but then your mind flashed back to the smouldering heat within his gaze and the rough pumps of his hips last night.

Well everyone has their duality I guess.

You took a deep breath as you swung your legs out of the bed, wanting to prepare your boyfriend an amazing breakfast for making you feel so good the night before. You made it to the door with a little difficulty, but as soon as you tried to walk normally the ache flared from your vagina and you stumbled forwards into the hallway.

Your knees bent at awkward angles as you tried to shuffle down the passageway, wincing while keeping one hand clenched at your pelvis almost as a reassurance. Damn, he had seriously taken away your ability to walk this time.

You grunted in exasperation, yet somehow didn’t completely hate the sore feeling. You looked up in determination to get to the kitchen but felt your breath hitch when you saw Yoongi and Namjoon sitting at the bench eyeing you in shock.  

Shit, they just watched me amble down the hall like a newborn deer.

“Uh, maybe you should get some rest (Y/n),” Namjoon suggested with a kind smile tugging at his lips. He had a half-eaten slice of toast in front of him, and you felt hunger bubble up in your stomach at the combination of smells.

“God knows you didn’t get any last night…” Yoongi mumbled and you stifled a surprised chuckle as Namjoon wacked his fellow rapper’s shoulder, utterly horrified. You leaned against the wall as they looked to you for a response.

“Well,” you began with a smug raise of your eyebrows. “I’d be lying if I said you were wrong.”

                    Copyright © 2020 by salade. All rights reserved.  

[thegeekerynj]

Short Reviews, when the Big Mouth doesn’t have much to say… Or is trying to get caught up from COVID / Election Overload

An Occasional Attempt to Read, Discuss and Review the Wonders of Comics

By: John Rafferty, cranky old man, and Fan of All Things Comics

Short Takes 

Short Reviews, when the Big Mouth doesn’t have much to say… Or is trying to get caught up from COVID / Election Overload

Legion of Super Heroes 6-10  (DC Comics)

Writer: Brian Michael Bendis    Pencils: Ryan Sook (#6 - 7, 10) Various (8 - 9)   Inker: Wade Von Grawbadger (#6 - 7, 10) Various (8 - 9)

‘You want to be called Bouncing Boy?

Looking at the Memexes, we were considering “The Bullet”.

Bullet?

It’s a projectile that——

No, with me, it’s all about the BOUNCE.

———————————————————————————————————

Can Brian Bendis write everything?

Between story, and downright FUN, this is a great book.  Team books are hard to do well, if for no other reason, because of the characterizations. 

Multiple characters mean multiple personalities, and some of those will always get underdeveloped in relationship to the team, as the writer invariably has favorites  Unless…

What we are seeing with LSH is development of characters from across the spectrum. Every book has development of some of the characters, even if they’re not directly involved in the story. This is a far cry from what you see in other books.

Add to this Ryan Sook’s breakdowns, and Wade von Grawbadger’s inks, and you get a pretty package, all tied up in a big bow. More importantly, this is a story with a legacy reaching back 60 years, and is being truly refreshed for a new audience.

This isn’t the Legion I read in 1967, but it’s damned good! 

Out of 5🌶        🌶🌶🌶🌶.5

===========================================================

Suicide Squad #9 - 10  (DC Comics)

Writer: Tom Taylor  Artist: Bruno Redondo

I have Kord’s location.

Okay. Do you also have the Senator?

Oh, did you want him back for some reason? That spineless mouth-breather championed a law to dump more waste into the sea. Delusional, greedy @#$% thinks he owns the world.

I have some friends reminding him he does not.

———————————————————————————————————

Floyd Lawton, first appearance, Batman #59, June 1950, as the man who never misses.

Floyd Lawton, a man who feels no rereason to continue living, but has no wish to die: who puts his life on the line to save his teammates time and time again, to save his daughter and her mother, all with the wish of dying in a truly spectacular fashion.

Floyd Lawton, who finally finds a reason to live, in the eyes of his daughter, Zoe.

Floyd Lawton. Deadshot. Perennial member of Task Force X, finally earned his pardon.

Game Over.

By all that’s Unholy, Tom Taylor is a hateful SOB! But the man writes a great story!

Out of 5🌶        🌶🌶🌶🌶🌶

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Marvel Zombies Resurrection # 1 - 4  (Marvel Comics)

Writer: Phillip Kennedy Johnson   Artist: Leonard Kirk

‘Fine. I guess we came all this way. 

Might as well do something really stupid.

———————————————————————————————————

This sums up exploring the World, any world, during a Zombie Apocalypse. Especially when those with Super Powers have been turned into Super Zombies.

So, we pick up with Peter Parker, Forge, Karla Sofen (Moonstone), Valeria and Franklin Richards, a Flerkin named Chewie, and the reprogrammed Sentinel lovingly called ‘Nana’, moving from defendable place to defensible area, seeking a ‘safe place’. Somewhere they can rest for more than one night… if that is possible.

Always realizing the next tree could be hiding a zombified Avenger, or Defender, or Loved one…

Johnson’s Miniseries is another version of the Marvel Zombiepocalypse, which begs the question, what happens when Zombie Galactus infects your world? Or, more importantly, when it CARRIES the infection to your world?

Leonard Kirk’s art style is perfect for this story, a very dark, visceral style which is a little hard on the eyes, making the reader work for every panel. Yes, it hurts to read, but IT SHOULD! It’s Zombies!

This is worth the read if you can get all 4 issues (the first issue came out in July).

Out of 5🌶        🌶🌶🌶🌶

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Rorschach #1  (DC Black Label)

Writer: Tom King   Artist: Jorge Fornes

‘They won’t talk to me. Treating me like I’m a  damn Kindergarten kid. I got twins in Kindergarten. Duane and Dwight. I’m not a Kindergarten kid. 

Jesus Christ. What’d they say to you?

That you’re dying.

Shit.

===========================================================

In 1985, Walter Kovacs died. 

It went unnoticed, but for the few in attendance, for Kovacs died following the Alien Invasion of New York, which, in effect saved the world.

Yet, unnoticed, but for the few, Walter Kovacs became a red splash on the Antarctic permafrost.

And Rorschach, the Crime Hunter, died with him.

Or. did he?

In a world existing somewhere between Watchmen 1985 and Current Multiverses, Tom King and begun a noir-ish tale… Did Rorschsch come back, to foil an assassination attempt, and die in the process?

Did he come back, and fail at an attempt at assassination?

Or, Gentle Readers, is there a whole slew of balls in the air we just haven’t seen yet, that we are going to be expected to juggle deftly, as they drop just into sight?

I can’t wait for the answer!

Out of 5🌶        🌶🌶🌶🌶.5

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Justice League #54 - 57  (Death Metal Tie-In) (DC Comics)

Writer: Joshua Williamson    Artists: Xermanico (54, 57), Pencils: Robson Rocha (55 - 56), Inks: Daniel Henriquez (55 - 56)

“Don’t you get it Cyborg? We’re not the Justice League!

We’re the Suicide Squad!

———————————————————————————————————

I have said before I am not a fan of Joshua Williamson’s writing.

Maybe I just don’t like him on the Flash. 

Four issues, each of them a very good story, each building, with some action and humor, to a smash mouth endpoint, that brings us to Death Metal #5.

I have to say, I’m enjoying this run of Justice League, even with the switch of artist teams mid - tale Xermanico’s work os beautiful, right into the valley of the Starros (that gave me giggle fits!) Rocha and Henriquez’s work is very pretty, and a little darker than Xermanico’s, giving a more atmospheric touch to the Antenna of LOD.

I have to admit, they do a mean Kori, as well! Really FIERCE, with a Full Length mohawk!

Well worth the cost of admission, and a strong addition to the Metal storyline.

Out of 5🌶        🌶🌶🌶🌶.5

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Nightwing #75 - 76 (DC Comics)

Writer: Dan Jurgens   Artists: Travis Moore and Ronan Cliquet (75), Ronan Cliquet (76)

‘We have to talk.’

———————————————————————————————————

Four words. 

Four words that have ended more relationships than violence.

Dan Jurgens has done a masterful job of tying up the Ric Grayson / Amnesias storyline that seems to have run for nigh on ever… by bringing it full circle to Anatoli Knyazev, the KGBeast.

The artwork in these two issues was pretty, with obvious switches between that of Travis Moore (the Titans / Batgirl pages) and Ronan Cliquet’s Batman / KGBeast pages.

Nicely tied up, completing multiple storylines in two issues. Ready to move forward/

Out of 5🌶        🌶🌶🌶.5

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Young Justice  #19 - 20 (DC Comics)

Writers: Brian Michael Bendis and David  Walker   Artist: Scott Godlewski

Red Tomato?

I think he said Tornado, and you know it.

Honestly, he talks so fast, I can’t understand him most of the time.

———————————————————————————————————

Damian Wayne, Robin.  Cassie Sandmark, Wonder Girl. Bart Allen, Impulse. Conner Kent, Superboy. Stephanie Brown, Spoiler. Keli Quintela, Teen Lantern. Zan and Jayna. the Wonder Twins. Jinny Hex, Naomi, Amethyst,

Twenty issues in, and the book is cancelled… or is planned to end. Either way, this is a suck way to do things, DC.

This is a great group of characters. Much better than the roster in the Young Justice cartoon, simply for the diversity. Some heroes just coming into their own, some who have existed for years,  (the Wonder Twins have been around in MULTIPLE iterations since the 1970’s), all helping each other… This was a great jumping in book for pre-teens who weren’t up for all the violence / hyperkinetic action / storytelling of a true adult book.

And, it was FUN!

Bendis, Walker and Godlewski produced a fantastic product every month.

One which is ending too soon. Unless, of course, it is going to come back in a new package… 

Hint, hint, hint…

Out of 5🌶        🌶🌶🌶🌶.5

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Amazing Spider-Man 50 - 53  ‘Last Remains’  (Marvel Comics (duh!))

Writer: Nick Spencer   Artist: Patrick Gleason

‘You’re going to love it, Pete. There’s no better feeling in this life — Than being surrounded by those you love.

———————————————————————————————————

So, what are the rules around DEAD Characters returning?

Do they have to be relevant after so many years? Shouldn’t they be, well, driven to do something? Not take more than 50 issues to finally get around to saying…”Bazinga!’, or it’s equivalent?

I must admit, issue 50 is the first issue of a Spider-Man book I picked up, and started to enjoy, until I realized I needed to pick up the LR issues also in order to get the whole story. Didn’t’t we get enough of this in the Shooter Years? 

What about a year and a half ago, when Marvel vowed they would never pull this crap again?? 

I guess they forgot… (Insert comparison to jackass in office here).

Too much work, don’t really care.

Especially when the reveal of who Kindred is happens in issue 50, and Peter finds out in #53… Puh-Leez!

At least it’s not Professor Warren and his Gwen Stacy clone. **BRRRRR** Freakin’ Creepy Old Perv!

Out of 5🌶        🌶🌶🌶

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Batman 101 - 102 (DC Comics (bigger DUH!))

Writer: James Tynion IV   Artist: Guillen March (101)  Pencils: Carlo Pagulayan   Inks: Danny Miki   Artist: Carlos D’Anda (Pages 13 - 16)

‘DOUBLE RENT! And you don’t talk to the other tenants! They are good people.

Little Santa Prisca is a community. We live through BANE. We live through JOKER. Don’t blow it up with all your nonsense!

You got it Charlie, No Nonsense. Not Here.

Hey! What’s your policy on Hyenas?

———————————————————————————————————

So, Lucius Fox is one of the richest men in the world. 

Selina Kyle has put the Bat on a One Year Clock to get his stuff together, or she walks.

Clownkiller might be the Bernard Goetz of Superhero Vigilantism (look up the reference, I can’t do everything!), but he goes about proving you can’t keep a good vigilante killer down if he has Google.

Ghost Maker is more than we thought, and knows who Bruce Wayne keeps in the closet (or cave).

Is there anyone in Gotham who doesn’t know who Bruce Wayne is?

Tynion continues to pump out some great product, the stories and characters do not disappoint. Including Grifter as Fox’s ‘bodyguard’ was a nice touch, having him get the drop on Batman, a nicer one.

The art in both books, while vastly different, is simply gorgeous. I want to see more od the team of Pagulayan and Miki, I’m hoping to see their work grow with the storylines.

Next issue, BATTLE Sequences! Should be fun, not that it hasn’t been so far.

Out of 5🌶        🌶🌶🌶🌶.5

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Shang Chi  #1 - 2 (Marvel Comics)

‘I have to save my Little Sister!

I have to kill my Big Brother!’

———————————————————————————————————

Only meetings should have agendas.

-Me, just now

Once upon a time, Sax Rohmer wrote stories about the machinations of one Fu Manchu, and his oft overturned attempts to take over the world.

In 1973, Steve Engelhart and Jim Starlin brought Shang Chi, son of Fu Manchu into the Marvel Universe, where he and his MI-6 partners Clive Reston and Black Jack Tarr were responsible for being the monkey wrenches in the machinery of Fu Manchu’s Plans.

It seems that Shang Chi is back, without his prior father. He is still proficient in all forms of martial arts, but now, he is ‘Champion of House of the Deadly Hand’ (like that name isn’t going to come to but him in the butt like a Karmic werewolf), and since the passing of his ‘Father”, now the Commander of the Five Weapons Society.

The artwork is pretty, and the story, steeped in Asian Mysticism, is a little draggy so far. Is the story good? Yeah, it’s a nice reminder of a character I exjyed a long tome ago.

Will it get better? Time will tell.

Out of 5🌶        🌶🌶🌶.5

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The Rise of Ultraman #1 - 3 (Marvel Comics, by way of Tsuburaya Productions)

Writers: Kyle Higgins and Matt Groom    Artist: Francesco Manna

Oh. You’re here to fight because you think we’re one of the species that can’t evolve.

No. I know you cannot evolve.

Fifty-Four of your years ago, my brother came to assist you. And you killed him.

———————————————————————————————————

In the late 60’s, on certain New York television stations, the Saturday Afternoon hours were filled with Japanese imports, Kaiju - United Science Patrol, and of course the story of the death of Moroboshi, and the coming of Ultraman.

Ultraman, a human - alien symbiosis, who fought the Kaiju menace coming to take over the Earth.

Forward to 2020, a new Ultraman, with a new team of USP helpers / friends, and what looks at this point to be a corrupt system surrounding them.

This creative team has done a marvelous job with the material thus far, reviving this character for a modern reader.

It’s just a shame it’s only 5 issues…

It is definitely worth the read.

Out of 5🌶        🌶🌶🌶🌶🌶

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American Vampire 1976 #1 - 2 (DC Comics)

Writer: Scott Snyder   Artist: Artist: Rafael Albuquerque

‘DAMMIT! Before what happened with Gus, you were the best vampire tracker and killer around. I’m asking you to help me take down whoever this PEELING MAN is.

But if this shitty music and LASERS is your life now, then just say so, and I’ll leave you to it.

It’s not a laser, you goddamned idiot.

It’s a SOLAR LAMP. **klik**

———————————————————————————————————

Ten years ago, Scott Snyder, Rafael Albuquerque and Stephen King started a journey which has spanned 10 Years in real time, but 200 years, and 12 separate cycles in series time.

The current iteration has our favorite group of vamps and exterminators running around 1976, wrecking discos, trains, and graveyards, all in the name of bringing back Stoker’s primary villain.

Snyder proves again he is up to the task of creating a world of whimsy and horror, providing mayhem, madness, and the occasional snorting giggle. His droll wit, and ability to write a phenomenal action piece makes this cycle of the American Vampire story a must read.

Out of 5🌶        🌶🌶🌶🌶

[clemintina]

Samurai 8 Ch 38 Review

I can sum up my reaction to CH 38, in one panel.

Goku aka “ Mr. Steal Yo Girl” - I love his personality. The man of many talents. What can’t he do!!? It is just what the story needed. They say you have to go after what you really want and this man wants himself a princess. I feel like he just hasn’t come across her yet (from my understanding each samurai has a princess of fate). Right now, he’s just like “fuck that, I want Princess Ann, you ain’t treating her right so I will”. But you just can’t go around stealing people girls like this Lmaoo!

In the last chapter, I thought Goku was oblivious to Hachimaru declaring him a rival ( not openly of course), but he is well aware. I re-read the interaction on where he was giving Hachimaru the tea. I thought it was hilarious when he basically called Hachimaru, unsociable and a sarcastic jerk. He told Hachimaru the truth and it was very much needed. It is still sort of back handed because on one hand he’s like “Let me give you some advice, to sort out your complicated relationship” and on the other hand “I’m still gonna try to get with your girl 😏”. And then he gives that snarky smile. Loved it loved it. Like y’all are supposed to get along for the sake of the universe !!Get it together!!

Hachimaru - We have to give him the benefit of the doubt because he grew up with only his dad. Only had interactions with people via video games, so he doesn’t know any better. He skipped a few steps before becoming a samurai cause he wanted to save his father’s life ( which technically in doing so is what got his father killed, but I digress...).

YOU HAVE TO LISTEN AND WAIT WHILE OTHERS ARE TALKING! Ann is trying to tell you something, but you’re hearing and not listening to understand. I thought he was being pretty childish in this chapter, but it made me laugh. I think what Ann is saying is true. He cares about her, but it is because she’s his princess not because she’s Ann. This was apart of his dream, to be a samurai and travel with a cute princess. But then again he is young and with his background... ugh. I love the way he was written in this chapter because it is realistic. We know that they will stick together through this, based on the flash forward from Daruma, but the journey just got a hell of a lot more interesting.

Ann- I honestly felt really bad for her in this chapter. I could feel her emotion come off the page. She was really trying her hardest. I completely understand her feelings. “ you don’t really like me, you just like what I can do for you!”. I love her personality because she is very open and will tell Hachimaru how she feels. And she didn’t say “love” so they can progress to that later.

The only problem I had with her in this chapter is the thing about her brother. I knew there was a slight romantic feeling between them. From the flash back, her brother was supposed to be her Samurai, but he “died” and now her samurai is Hachimaru. She cares a lot for Hachimaru partially because he reminds her of her brother, so she is putting this idea of her brother on to Hachi but he’s not living up to it. Then that would mean she really doesn’t like Hachimaru for Hachimaru, and she’s doing what he is doing. What if someone else comes around and is even more like her brother ??

They have to work on this because their bond will effect their battles together. I knew eventually they would hit some type of bump in the round with their relationship. Hopefully, they can work it out soon.

Also Ata! You sure are taking your sweet time getting to Hachikaku! Y’all have been on the way for the last few chapters and haven’t made it yet! Hurry up! I’m trying to see some action and Hachimaru’s brothers. Cover page was really dope!

Thanks for letting me know Captain Sen’s princess name! Princess Kiriku!! It really looks like Ichigo could be their daughter. So fucking cute !! I love that they are acting as mentors to Hachimaru and Ann. Because boy do they need it!

Last thing, the commentary from Sanda and Ryu is the best. Poor Ryu is still struggling to read the room and it so funny. He’s like “oh they are talking to that’s good 🤣.” Like no this is not good!! Then while everyone else is commenting on the dynamics between Hachimaru and Goku, he’s really analyzing the fight.

[keysmashchronicles]

the seven basic plots and phanfic

Having read about Booker’s concept of the seven basic plots and the universal structure that underpins them, I was curious to see how these ideas might relate to the phanfiction I’ve read and enjoyed. Although it’s possible to find fics that relate to all of the different plots, some of them are used much more heavily than others.

The plot which is overwhelmingly the most used in phanfic is that of comedy, which encompasses so many well-loved tropes such as fake relationships, sharing a bed and friends, enemies or strangers to lovers. The essence of the comedy plot is for characters to experience an ebb and flow between states of confusion, secrecy, miscommunication and separation and those of enlightenment, honesty, connection and unity, which perfectly sums up these stories where our boys have to overcome a series of obstacles which stand in the way of their eventual happy ending. In addition, tropes such as mutual pining, or unrequited love often also fall under this plot as these circumstances initially threaten to keep Dan and Phil apart but as the story unfolds they are challenged and ultimately overcome.

Two examples that demonstrate the comedy plot really well are fifty kisses to christmas by nokimisfics and  The Way I See You by INeverHadMyInternetPhase. Both feature a plot device which forces previously hidden or denied feelings to be gradually brought to the surface. As a result, Dan and Phil begin to develop greater honesty, vulnerability and trust in their relationship, finding the courage to be more and more truthful with themselves and each other and eventually being ready for their happy ending.

Another of the plots which we see used often in phanfic is voyage and return, for example in fics which feature time travel, body swapping or characters falling into alternate realities. These fics are based around the challenge of characters finding their way back to the normal world, and often include the themes of self-discovery and self-development which Booker says are necessary for this plot to be developed to its fullest.

We see this plot used in fics like If Lost, Return to Phil by thatsmistertoyou where Dan falls asleep in 2014, wakes the next morning and realises he’s in 2021 and tries to make up for all the mistakes he’s made in the intervening years, or In Any World by jestbee in which Dan hits his head in the bath and finds himself trapped in a world of phanfic. Both feature a character who is struggling with admitting to themselves who they are and what they want from life. They find themselves suddenly wrenched our of that ordinary life and face a series of challenges or dilemmas which force them to grow and face up to the truths they’ve been trying to avoid and build towards a dramatic climax just when it appears that there’s no way the problems they are facing can ever be resolved.

Plots such as overcoming the monster, the quest and rebirth are less common, because of this being an RPF fandom rather than being based on a fictional world with heroes and monsters and epic quests, but there are some fics which make use of these plots, mostly AU fics such as parentaladvisorybullshitcontent’s Vampire AU which develops into an overcoming the monster fic over the course of the series, or the ATLA AU Burn and Bloom by jilliancares which combines aspects of both the overcoming the monster and the quest plots.

The rags to riches plot in its traditional form doesn’t feature prominently in phanfic, but I’d argue that in some ways it does form the basis for the ‘story’ of Dan and Phil’s real life relationship so in a sense it is the backdrop to a whole range of fics, both canon compliant and otherwise.

The plot I’d associate least with phanfic is tragedy in the sense that Booker means it, where the protagonist falls irrevocably under the shadow of some dark influence because of their greed, lust or selfishness, thereby becoming the monster that has to be destroyed in order for the story to achieve its happy ending. There are some phanfics that could be regarded as tragic in their subject matter, such as those featuring major character death, but Booker would not see these as tragedies in the sense he uses the term.

Thinking about the universal plot and its two essential elements, my experience of phanfic is that the stories I particularly enjoy do tend to stick pretty closely to what Booker describes. In reflecting on what makes a fic enjoyable for me, a structure where the tension in the story ebbs and flows but gradually builds up to a climax, usually accompanied by some kind of personal growth or addressing of some inner struggle are the stories that I really enjoy and get the most satisfaction from.

This isn’t to say that stories which don’t follow this pattern can’t be enjoyable too, and  this is particularly true of fanfic. But the fics that really stay with me and that have a lasting impact tend to be those where the author has mastered the skill of using that universal structure to it’s best advantage.

It’s interesting that most of us never really tend to sit down and analyse the structure underneath a story in this way, and yet most writers seem to have a understanding of how to use it. Both writers and readers build this internal sense of what makes a good story through spending hours upon hours immersed in stories of all kinds and discovering what has the most impact on them, even if they never stop to think about it in analytical terms.

It’s similar to what Dan says in the  BBC Talentworks podcast about how he learned to write comedy - it wasn’t through studying and analysing the structure of jokes and theories on how they work, but simply through years of watching panel shows and sitcoms and internalising a sense of how they worked. Then when he did start learning about that structure at the writers’ retreat, it was simply a confirmation and a codification of what he’d already come to understand through his own experiences of consuming and creating content.

the universal plot // getting specific with a fic example

[geejaysmith]

Wolf 359 Classpects, pt. 1

Soooo, while I was still busy with the last few weeks of my summer internship, I did keep thinking about classpecting the Wolf 359 cast. Possibly too much, because it wouldn't leave me alone until I'd solved my own God Tier riddle. Unfortunately, it got really long in the solving because I have many Thoughts and want to share all of them, always, so uh, a complete Classpect Analysis of Wolf 359 will be in parts? This first one covers Eiffel's, Hera's, Lovelace's and Minkowski's aspects.

DOUG EIFFEL: An utter no-brainer; ya boi Dougie Fresh is a Breath player if I ever saw one. For Chrissakes, he's the communications officer, and the first one to start complaining about the monotony of being stuck in a deep space sardine can. Breath is associated with communication, freedom, openness, and change - "free as the breeze", you might think of it, but that also leads to Breath players having trouble pinning themselves down to anything. They get skittish if they feel pinned down, and frustrated when stuck in place. Doug's noncommittal aloofness, the way he's off in his own little world (partially to hide from the fact he really does not like himself very much at all), and the way he's incorporated media into his self-perception all match pretty well with John and the Nitrams. But at the same time, he's the one playing mediator even as early as The Sound And The Fury. Being largely outside of the War Industrial Complex the other characters are so familiar with and thus mostly free from its dogmatic worldview of hierarchy and order, he's becomes the One Sane Man when he's the one to shout "what is WRONG with you people?" when "murder" shows up in the top 3 potential solutions to a problem, and he has no hesitation in saying what's on his mind. And it's not all complaints and bad ideas, either; he's got whole speeches telling the others how amazing he thinks they are and how in awe he is of their skills. A key catalyst in the plot of Wolf 359 is the reaching effects of his radio broadcasts. Also, there's something hilarious to the fact that for the aspect associated with communication, Doug *literally* cannot lie to save his life. I kept my ears open for the infamous Breath Hex on my second listen - that is, the strange little way in which things Breath players say tend to come to pass in reality. Cigarette Candy is basically 20 straight minutes of the Decima virus being Breath Hexed into existence, and he guessed Lovelace's situation in one - "Maybe she's a clone, or like a *really* good robot replica."

HERA: Another easy one. Although Hera is resistant to splintering as we've come to recognize it, Heart players are nothing if not determined to be an individual. They have a firm idea of themselves as a person and defend it fiercely, including compartmentalizing away pieces that don't fit their self-image. Maybe less actively putting them down like Jade Harley did to Jadesprite (the manifestation of the negative feelings she repressed out of fear they'd make her less useful) - that would mean attacking or denying a part of themselves - and more... "why yes, I put this part of myself in this box, and I may look at the box on occasion, the box definitely exists, but I don't go near the box and I definitely do not touch or open or interact with the box. And then one day, I will die." So that piece finds other avenues to express itself because it can't not do that. Hera's programming dictates she be "chipper and non-confrontational and always ready to help", but she actively resists being a mere utility and always has - her earliest know action was to attempt a jailbreak of the manufacturing facility she was made in, born rebel that she is. She will insist upon her name over her serial number unless you force her not to, and gets passive-aggressive at people treating her like a machine. And yet, even as she teaches herself to ignore commands literally written into the base of her personality, she doesn't reject her directive to be helpful, nor does she express a wish to be a flesh-and-blood human, or even really to have a physical form? She has a human self-image in mental spaces (we presume, I will semi-seriously point out there's nothing definitively stating she doesn't see herself as like, her fursona or something), but when she has to limit herself to a human-like view of the ship, her immediate reaction is "this is weird, I don't like it."  This is honestly something about Hera that I think may be unique among non-villainous AI characters; she seems to be content with being what she is in general, and she just wishes for people to treat her as a person and not a piece of equipment they can do with as they please.  

ISABEL LOVELACE: Arm-wrestled Hera for the Heart aspect and lost, despite Hera not actually having any arms, but that's okay because there's two aspects that fit her much better: Blood and Time. I ultimately went with Blood.

This is the part where you notice I'm onto the third of four characters in an aspects-only meta post, yet there is still a lot of post to go. This is because These Kinds Of Characters, the sort that're constantly on emotional lockdown, are a Challenge Mode, and for me to truly be satisfied with my classification I have to start drilling into the bedrock of what it even means to have an aspect in general, what it means to have a specific aspect, and what each aspect is really about. When you're on that level you tend to find yourself throwing out explicit expositional statements as incomplete, oversimplified, or unreliable, and looking at the text directly with a subtextual electron microscope. Brace yourselves. I have thrown the author out of the airlock, and I am about to get verbose.  

Lovelace's character sheet describes her in contradictions, and we get to see two different sides to her that resolve into the complete picture by the time Lovelace Mk. III wakes up. There's Captain Isabel Lovelace, goofing around in her earlier logs, and The Terminator. She does things Her Way and is very much prepared to fight you if you object - the whole reason she was picked for the Hephaestus mission was her willingness to go against (in her words) "stupid orders" and do what she thought was right. She's also fiercely loyal; The Terminator is the end result of her anger and grief for her lost crew and at her failure to get them home alive. Her backstory episode has her summing up her complicated relationship to the Air Force with "I owe a lot of who I am to them." And even before she and Minkowski have completely stopped butting heads, Lovelace shoves her out of the way of an exploding wall panel that would've killed her, and takes a near-fatal bit of shrapnel to the gut in the process. At her best, Lovelace is a fearless, boundlessly determined, dedicated firebrand of a leader. At worst, she can be impatient, stubborn, shortsighted, and ruthless. I dunno about you but that reminds me of a certain... angry crab that I know.

"Time" was what a few people chimed in with for Lovelace and while I see some of the connections (her awareness of the time loop, "Variations on a Theme", her multiple selves and multiple deaths, the repeated motif of clocks and pocketwatches) I don't think she quite fits in with the other Time players. Unlike most Time players, she doesn't have a fixation with historic context, the "Why Things Are The Way That They Are." This manifests in Dave's paleontology and his taking of source material for ironic twisting, Aradia's archaeology and knowledge of The Nature Of The Game, Damara's... /noises and vague gestures bc I don't want to go back through Meenahbound but her role as The Handmaid fits the pattern, and Caliborn's own warped, thoughtless replication of narrative archetypes. Context. Decisions. What came before and how it shapes the now, where your decisions will take it from here. The consequences those decisions will have. The details versus the larger picture. Even failure has its place in that scheme - that's the Time aspect. Lovelace doesn't like to dwell, she's a very "barrelling forward momentum" kind of person.

Side note: Aradia, Dave, and Damara all face hesitation to take action they had to learn to overcome. Also, all of them had to be pushed to use violence except in self-defense; Aradia let Vriska cross a series of lines before beating the everloving shit out of her, and Damara snapped after what, years? Of Meenah's abuse. Dave, on the other hand, never raises a hand to another person except as a complete necessity. Caliborn is, if anything, an aberration here in that he's outright homocidal and self-doubt is something that happens to other people. Caliborn is an outright aberration to a lot of Time player patterns, and to SBURB in general, because it's SBURB, so the rules are made up and the points don't fucking matter, except when they do, because Fuck You, The Author Said So.

No, Lovelace's approach to decision-making is that regrets are for afterwards, and "if I fail I deserve to be out of this picture; also, this situation has gone entirely pear-shaped, time to fling myself into the sun." (and that sounds an awful lot like someone that I know very well, but I'll deal with that royal mess when I get to the crazy whamma-jamma that is Classes). Impatience and railroading of other people can be her undoing just the same as assertiveness and decisiveness are her gifts.

...aaand then I went ahead and watched the live episode and yeah, major Karkat vibes there. However, I note that I don't believe we have ever hit hard evidence in Homestuck that Blood players are capable of Chilling The Fuck Out - this is part of the limitations of classpecting characters who weren't made for this system, you really have to dig into how much of their behavior is situational and where you see the kernel of individual perception shine through, the Rosetta Stone by which you begin to see the constants. "Where the object becomes the subject", to quote Memoria.

Finally, I think it's also worth noting that while Lovelace has a lot of connections to Time motifs, she also has connections to a lot of Blood motifs that arguably become more important to her story. Personal bonds and social justice are two of the Blood aspects strongest associations - see Lovelace's loyalty to her crew, and extending her desire to avenge them out to everyone Goddard Futuristics has ever used and tossed aside. The physical body and literal blood are other strong associations, and gee, how many times does the O-negative Cure-All Alien Juice in Lovelace's veins become a critical plot point? Not to mention the implication that her new friends all pulled through the finale because all of them now have her blood in their system. I'll accept that she's closer to the line between Blood and Time than some, but I'm holding by ground here: 

(Also, here's some irony for you, she may share an aspect with the Cancer trolls, but her birthday is August 11th, making her a Leo.)

RENEE MINKOWSKI: Minkowski was the hardest of these 4 to come to a decision on. My first inclination was Mind. Her general disposition put me in mind of a Life player. But then, I sat down and thought my way past the Commander's layers of emotional armor and ultimately settled on Light.

First off, by being a stickler for protocol and procedure as well as an Actual Responsible Adult, Minkowski is a kind of character that Homestuck straight-up just does not have, so snap judgements aren't gonna cut it here.  This is, again, another limitation of the classpecting system - all the examples we have to draw from are teenage disasters stuck in a lawless hellscape of some description or another, and written by an author allergic to boxing himself in with hard conclusions. But I digress.

Commander Minkowski is also stubborn. When she sets her mind to something, she digs in her heels, cranks the dial to 11, and then breaks off the knob and pockets it so you can't turn it back down. We see this as soon as episode 2, and at it's most hyperbolic when she Captain Ahabs the plant monster. Her's is iron-willed, bloody-minded, unstoppable, Determi-fucking-nation - when she sets her mind to it.

The submarine thought exercise is what had me initially lock her down as a hero of Mind before I mulled it over. The exercise is meant to provoke thought about priorities - what you think your role's purpose is in that situation will determine your priorities, and thus, your decisions. Mind heroes' most prominent skills are in riding the flow of causality, watching decisions, their causes and their consequences, and directing that path. They know people, and how to direct people. But the need for this means that they can get a little co-dependent. Other people are understandable - it's themselves that Mind heroes have the greatest struggle with. Without that vehicle of another person, Mind heroes may find themselves adrift and struggling to define themselves. This is fitting, given Mind is the most direct counterpart to the Heart aspect.

However, upon further examination, I found that this framework of priorities setting your decisions can also be extended to the Light aspect. What is "lucky" in a given situation? What do you define as a fortunate outcome? Rose arguably gets Grimdark'd by something like this, she asks the cue ball "are the horrorterrors evil?" and in doing so attempts to pry into the motivations and intent of *indescribable eldritch beings existing on a nigh-incomprehensible plane* and wedge it down into a relative human understanding of morality, which is sort of like trying to fit the Pacific Ocean into a water bottle. She was trying to deduce what impact the horrorterrors would have upon her and her friends, but asked the wrong question and got an answer she couldn't handle. She didn't recognize Doc Scratch was baiting her into this by leading her into a specific framework through which to ask the question. Vriska died because of her failure to recognize she was in a situation where luck didn't matter. Aranea got trounced because of her inability to recognize that reshuffling reality to prioritize herself and her preferred outcomes still didn't overcome the fundamental nature of timelines - you try to take over the alpha timeline with an insubordinate branch? That's a doomed timeline no matter how you slice it, and we know what happens to those. Luck and knowledge are both used by the Light-bound to give themselves power, whether in showing themselves off as The Smart One or the The Helpful One or The Unstoppable One, but their limited viewpoint often leads them to overlook the limitations of their own framework, or in other words, missing the bigger picture. I'll point out here also how Minkowski has the entire DSSPPM memorized and is the one who wants to get to the bottom of whatever the hell is really going on up at Wolf 359. Additionally, one of her other ambitions, at least once upon a time, was writing musicals. The verbal arts are one of the domains of Light players.

So while on the surface, Minkowski bears the most resemblance to a Life player, Life players tend to have an element of conformity to them. Unquestioned assumptions they've internalized have about the context in which they exist. Light heroes, on the other hand, need conformity so they have something to defy when they jump up and down screaming LOOK AT ME!  

So after much pontificating, I came to a decision. In the end, what Minkowski wanted more than anything else was a stage. Maybe to direct rather than hold the spotlight, but still; that's a Light hero if ever I saw one.

[invertedgoogle]

Noragami Analysis: Ebisu and Iwami; Guideposts and Familial Relationships

This post is a continuation/elaboration of my last one on Ebisu’s theme of crying, but instead of focusing on a central motif, this one branches out into more related elements in the plot. Please bear with me if some things are repeated!

We know Ebisu’s (more widely believed) origin story of him being thrown away by his parents Izanagi and Izanami because he was born without bones/arms and legs. Yet, self-destructive tendencies aside, Ebisu is a comparatively well-adjusted god in Noragami. His maturity, ability to function well as a god and overall benevolence make him an ideal role model for Yato on his journey to become a god of fortune. @echodrops has an entire essay written on how Ebisu is such a good father figure to Yato- please go check it out (along with the other essays) it’s incredible and thoroughly researched.

So how does Ebisu, himself abandoned by his birth parents, manage to become who he is in the present day?

(More under cut)

We’ve been shown instances of gods taking fatherly/motherly roles towards their shinki (Yato, Bishamon, Arahabaki) and plenty of domestic spousal relationships between gods and shinki (Kazuma and Bishamon, Kofuku and Daikoku). But we don’t usually come across the parent-child dynamic between shinki and gods (note the order), which we’ve only seen with the gods who reincarnate and are raised by shinki: Takemikazuchi and Ebisu.

It’s shown that Ebisu values (or in the very least, shows understanding of) familial kinship.

Whether he’s saying this to Izanami as his supposed ‘biological’ mother or to the Olive Ken lady he looks up to as a mother (and who Izanami takes the form of to him), it’s clear that he does long for the mother he never had growing up.

And get this: besides fishing and commerce, Ebisu is also a patron deity of expectant mothers.

He gets prayers from people who want children (unlike his own mother), and sees how happy humans can be with families. He’d want to know how it might have been if his parents hadn’t thrown him away (still, I doubt that things would have been as rosy as he may imagine- just ask Kagutsuchi).

While the previous Ebisu’s mother figure had been a human woman (who will eventually age and die), he’s had a consistent father figure throughout his incarnations: Iwami.

As turbulent Ebisu’s existence is with his high reincarnation rate, Iwami is a dependable constant for Ebisu who will never change. And some part of this dependability is what Ebisu would want from a guardian: the kind his own parents had never shown him. While Izanagi and Izanami had abandoned him, Ebisu can trust Iwami to be there to guide his next incarnations even if he dies. (inserting a bit of headcanoning here, but adult Ebisu’s bluntness really looks like he takes after Iwami)

But before I go into anything specific about the Ebisu and Iwami dynamic, let’s run through the fundamentals of the Noragami world: what gods’ natures are and what shinki/guideposts are for.

In Noragami, gods are born from human wishes: no matter how big or small. The nature of those gods then depends on that wish, and it is sculpted specifically to enable them to fulfil the wish. However, gods have no innate concept of right and wrong and are therefore “justified” in doing anything their nature dictates them to do.

This would have been disastrous for the mortal world if it were not for shinki keeping the god they serve in check. Because shinki were once human, they can guide their gods to act in ways more acceptable to humans. We can call this the “nurture” to the god’s “nature”.

A guidepost is given an additional task besides their usual duties as shinki, and it’s Ebisu himself who introduces to us to guideposts.

A guidepost's responsibility is to show their gods the way and protect their name. Well, what exactly is the way? Isn’t it a bit vague? But that’s the whole point. There are infinite ways a god can be true to their nature. If we look at Yato for instance, his recurrent urge (and perhaps nature) to “cut things up” has manifested itself in killing people for centuries under Father’s instructions. 

It’s Yukine who points out that he can use this to “slice and rip chaos itself into shreds” after he consults him. He isn’t changing who Yato's nature to cut things: all he’s doing is interpreting it for him to better suit what he wants.

There are as many ways to be a guidepost as there are ways to be a god, because each guidepost interprets ‘protecting their god’s name’ differently. That’s how we go from Kazuma, who will do anything to protect Bishamon, to Kiun, who would kill Takemikazuchi to save his master’s good name. That’s why it’s important for a god to have a guidepost after their own heart: so they can be led the way they want to go (and also why having someone else choosing a god’s guidepost for them has such a serious impact).

When it comes to bringing up a god, Iwami’s certainly had much more expertise over the average guidepost/shinki. Be it trial and error over millennia or just old-age wisdom on Iwami’s part, Ebisu receives a pretty comprehensive education on being a god from Iwami.

Because we’ve seen Ebisu before and after reincarnation, we can compare the effects of his inborn “nature” and Iwami’s “nurture” on him. An example would be this (this is still a bit rickety logic-wise, but I thought it might be worth some discussion): one of adult Ebisu’s defining characteristics is his strong will that drives him to extreme lengths to make humans happy, even if it means sacrificing himself.

But from what we see from our newest Ebisu, patience... doesn’t look as “in his nature” as he says.

And if you squint, there's something interesting about Iwami’s lectures to restless, impatient teenagers:

Ebisu doesn’t seem to apply the virtue to himself (as an adult, he never does learn to tie his shoes or take care of himself, with Kunimi around) but we see this strong will reflected in his efforts to tame ayakashi. A lot of determination goes into putting himself through intense pain and eventual death just for a shot at reducing human suffering. Iwami teaches Ebisu to persevere so he won’t give up on what he wants to accomplish.

And think about a guidepost’s responsibility to nurture a god’s potential, teach them to know right and wrong, give them advice they need, especially the way it’s done for a god who is a child/young man for half the time... these duties are eerily similar to those of a parent's. 

Everything Iwami does is to supplement Ebisu’s nature: equipping him with all he needs to achieve his goals. However, for how instrumental he is to Ebisu’s upbringing, a crucial duty Iwami fails to do for Ebisu is being a proper guidepost: actually giving him his purpose as a god. 

Iwami’s line of thought as a guidepost is very passive: in fact, it’s so passive that the important instructions he gives to Ebisu are never from himself. 

These panels sum up Iwami’s philosophy. Seeing that Iwami had been a very old man for his time when he died, he’d want someone as young and (technically) full of life as Ebisu to live his life being free to do what he wants, without interference from someone who has already lived theirs. So fearing that his words might force Ebisu down a path he wouldn’t have taken otherwise, he passes down instructions to Ebisu only if they are “as per his previous incarnation’s wishes”, which in a way ‘preserves’ Ebisu’s wish across reincarnations. He thinks of influencing Ebisu’s decisions as a sin, and only dares to support him through complementary means: behaving more as his servant than an advisor.

Despite having to keep a healthy distance to avoid appropriating a god, a guidepost’s role is still, at its core, active. In Yato’s aforementioned dilemma, it’s Yukine who thinks up of a different path when Yato is at a loss and helps him figure it out together.

It’s easier to think of guideposts as actual tour guides. While a guide who drags you astray from your intended destination isn’t helpful, neither is a guide who assumes that you’re the one who knows better. Nobody needs a guide if they already know how to get where they want to go.

Iwami’s reservedness extends to the point where he doesn’t share about himself with Ebisu even when directly prompted to:

Ebisu wants to know about who he was, what he did, and how others saw him, but he doesn’t want the answers delivered through books and journals.

He wants to hear it from others so he, in turn, can get to know them better through conversation with them.

Ebisu just wants Iwami to talk to him.

For all of his devotion to his master, why does Iwami remove himself from Ebisu like this?

His explanation to Ebisu is that he doesn’t want to change his fate, but can we suspect more to that alibi? There’s a scene in the earlier chapters where High Sentinel Oushi guilt trips Ebisu’s shinki into betraying him:

The context here refers to the physical pain of Ebisu feels when his shinki are killed, but honestly, for the most time in Ebisu’s household, who's really the one going through “the pain of a child passing on before him”?

To Iwami, every Ebisu is the little boy he’s raised from childhood (how does that tiny Chibisu up there not remind you of “dad! dad! look!”). Iwami’s there to meet Ebisu when he’s newly reincarnated; he watches him grow, then watches him die. And once Ebisu reincarnates, he can’t even remember his name. 

It’s painful enough for a child to have a parent forget who they are or to have their parent pass away, but the exact opposite happens in Ebisu’s house. It’s Iwami who has his “child” forget him, who has his “child” die before he does.

And after Iwami outlives so many Ebisus, he has to raise him again and relive the nightmare. Ebisu has the ‘luxury’ (if you can call it that) of forgetting Iwami; Iwami doesn’t. The worst part is that Iwami exists to remember everything about the past Ebisu for the next one.

If Iwami keeps building close relationships with every Ebisu he serves, it’s only going to make his inevitable deaths and reincarnations more painful to bear. For the sake of carrying Ebisu’s wishes across incarnations, Iwami has to detach himself from his master so he won’t fall apart from the emotional toll that comes with it.

Iwami probably doesn’t even have the heart to directly tell Ebisu about his past incarnations and their wish to tame ayakashi. Instead, he’s always told Ebisu to read his predecessors’ journals, which inevitably include information on the subject. And precisely because Ebisu isn’t shown an alternative way to be the god Ebisu (and especially since his journals are all the pointers he has about who he supposedly was as an adult), he ends up thinking that taming ayakashi and carrying out his previous self’s wishes is the only way to be Ebisu. After that, Iwami can rationalise that it had been Ebisu himself who made the choice and that he is now obligated to help Ebisu to achieve it.

While Iwami has his own reasons for not sharing too much with Ebisu, Ebisu reads this silence as coldness towards him, that he’s not important enough to Iwami to be allowed to know him better. The flashback of Ebisu with the books shows Iwami facing Ebisu, but in Ebisu’s mind, it’s as good as though Iwami had turned away from him there and then: remaining both physically and emotionally removed. Iwami is abandoning Ebisu to himself.

No matter the incarnation, Ebisu still bonds much quicker with Iwami than other shinki, even Kunimi, his current guidepost. It’s clear who Ebisu’s favourite is.

Ebisu constantly looks to Iwami for guidance, but Iwami keeps silent, thinking it would be best if Ebisu lives his own life without input from him. The flaw in this approach is that its result hurts both Ebisu, who doesn’t want to die, and Iwami, who doesn’t want Ebisu to die either.

This vicious circle keeps them trapped in lives they are unhappy in. Unless Ebisu is shown a different path by Iwami, he can’t change from the one his predecessors took. And unless Ebisu changes what he wants to do, Iwami can’t show him anything else but what his predecessors have always done. 

The circle has long-term effects too: with each passing incarnation, Ebisu feels even more pressured to follow in his predecessor’s footsteps, and Iwami has to keep withdrawing himself from Ebisu, all while receiving the reinforced impression that Ebisu does wants to continue this self-destructive work.

By telling Ebisu to live and act on his own wish, Yato has already dealt a significant blow to the circle. But reforming only Ebisu’s mentality isn’t enough to permanently get rid of it; Iwami’s mindset must also change.

Up till now, Iwami’s been “protecting Ebisu’s name” by supporting whatever Ebisu decides to do, letting him finish what he had started in his previous lives. But after Kazuma’s confrontation, Iwami finally acts on a desire to protect the current Ebisu, not just Ebisu's “wishes” anymore. 

Father’s defeat is as important to Ebisu as it is to every other character.  Notice that when Kazuma tries to get Iwami to give him something helpful to stop Father, he tells Iwami “the root cause is clear", and that he could put an end to Ebisu’s fate of living short lives by helping destroy Father.

From the flashbacks, Ebisu has been tailing Father's work ever since he retrieved the first Koto no Ha (the flashback where baby Ebisu discovers a mask is from the Heian era, which approximately when Father starts using masks). Father has been using his masks to wreak havoc in the mortal world, but because Ebisu is right behind him learning how to tame them (even if it’s from scratch), Father has a form of check and balance, no matter how crude or underdeveloped it may be. Though Ebisu himself doesn’t yield much success in actually taming ayakashi, his accumulated knowledge about it alone can help other characters take Father down.

There are many reasons why Ebisu follows his predecessors’ wishes that stem from inertia, but Father has been the active reason why Ebisu cannot afford to stop taming ayakashi. 

What’s especially tragic about this set of panels is that Iwami’s wish for the young Ebisu had always been for him “to be whatever his heart desires”. Instead, in his efforts to preserve Ebisu’s ‘wish’ across incarnations, he’s ended up achieving the exact opposite.

And that’s why Iwami agrees to help Kazuma, even if it means breaking an old promise to Ebisu. Change starting to happen: from someone who had been afraid of deviating from the previous Ebisu’s wishes, Iwami now hopes to save the current Ebisu from having to die continuously by betraying his predecessor.

Once the sorcerer is stopped, Ebisu’s fate won’t be limited to taming ayakashi, and he'll be able to be a god of fortune without having to die for it. Iwami will finally be allowed to raise a single Ebisu, one who will no longer die young and forget him. And Ebisu could really use a father who can show that he cares for him.

(sorry this is so long I got pretty carried away with this lmao)

[sandstonesunspear]

Superwoman: An Interview With DEO Director Lucy Lane

Inspired by that article in Women’s Health Magazine with Jenna Dewan that came out this morning. 

Thanks to @nerdsbianhokie for letting me run with Dylan for this.

AO3

XX-XX-2020

A CatCo Exclusive by Kara Danvers

It’s been six months since the Daxamite Invasion and the public appearance of the DEO. In that time, no had been able to get an interview with the DEO Director. At least, that had been the case right up until last week.

First thing’s first: DEO Director Lucy Lane smells amazing. Hints of cinnamon with an underlying base made of jasmine and roses linger in the air as she walks into the room. I find out later that it’s a very exclusive scent. Only one bottle exists, and it was custom made by her 5-year-old son, Dylan, with the help of one of her partners. He also made a second bottle with a different scent and named both of them: Dinosaur Dreams and Fierce T. Rex, the latter of which she’s wearing right today.

Out of all the topics we discuss today, it’s talking about her son that makes Lucy beam. “He’s a great kid,” she says. “He’s one of my biggest motivators for the work that I do, both as the Director of the DEO and as a lawyer.” Dressed in a crisp black polo, black cargo pants tucked into polished black boots, everything about Lucy matches the perfume she’s wearing.

Her fierceness is only amplified by the extensive list of her accomplishments: top of her class at West Point, promoted below the zone twice before the age of 25, a Signal Officer turned JAG after  graduating top of her class from the prestigious Harvard School of Law, and now Director of a semi-clandestine federal agency. It’s only a fraction of Lucy Lane’s incredible pedigree. All of it is worthy of awe. Of course, express that to her and the woman who served two tours in Afghanistan blushes and waves compliments away. “I’m just a soldier,” she insists. A soldier who became well-renowned within the legal community, both civilian and military, for her prosecution of the Hector Alvarez, a former Army Captain who was, at one point, the top lieutenant of the Reynosa Cartel. Thanks to Lucy’s efforts, Alvarez is now serving multiple life sentences at Fort Leavenworth for a litany of charges that include felony drug possession with the intent to distribute and murder.

Extensive pedigree aside, Lucy herself was never a stranger to the life and burdens of being a soldier. The daughter of General Sam Lane, a man who has gained a great deal of infamy in recent years for his vocal and vehement anti-alien rhetoric, Lucy was ingrained with a sense of duty long before she ever assumed the position of DEO Director. That sense of duty has kept her humble and it shows, both in how quick she is to dismiss compliments and in her actions.

Halfway through our interview, an alarm goes off. An agent bursts in moments after to inform Lucy of an alien attack by the docks. She’s out of the office and in the command center seconds later, barking out orders and demanding visuals. When it becomes apparent that the squad at the docks needs backup, Lucy doesn’t hesitate to suit up and enter the fray herself. When she returns an hour later, it’s with all of her agents by her side. I stand against the wall as Lucy makes her way to medbay, checking on the wounded and waving away medical help for herself until all of her people have been taken care of.

“Sorry,” Lucy apologises as she settles back into her plush leather seat in her office. By now, her arm is in a sling and there’s a bandage on her forehead. On anyone else, it would be a sight for concern, but the warm grin sitting firmly on her lips ultimately puts me at ease. She’s happy to inform me that all of her people made it back in one piece. I assure her that it’s fine just as her phone chimes. It’s Dylan’s father, James Olsen, Editor-in-Chief of Catco Magazine and Lucy’s ex-boyfriend. They share custody of Dylan.  

When I ask if there’s any tension with that arrangement, Lucy just laughs. She fires off a quick text to James, letting him know that she’s fine and that she’ll be there tonight to pick Dylan up, before providing me with a more concrete response. “There’s no tension at all,” she assures me. “James and I live pretty close to each other, so even on the days where one of us doesn’t have custody of Dylan, chances are that we’ll still get to see him.”

“Do you think you and James would ever get married to take the custody arrangement out of the equation?” It’s a question that’s been floating around National City ever since news of Dylan’s parentage broke. To my surprise, Lucy shakes her head. “Nope. Jimmy’s a great guy, I wouldn’t have dated him if he hadn’t been, but he and I wanted different things,” she tells me. “We both love Dylan, but James and I being together isn’t what’s best for him. Besides, James’s been eyeing a lucky lady lately.” She gives me a wink, like she knows more than she’s going to let on. “And I have my partners.”

Partners. Plural, as in more than one. Rumours that Lucy was in a relationship with two women had been going around ever since she was seen attending various charity galas in the city with two different women.

I ask if she’s concerned with the backlash she might get by revealing that she’s in a polyamorous relationship. Being the daughter of a prominent military official and being a prominent lawyer herself, Lucy’s familiar with having public scrutiny aimed at her. But she’s not concerned. “I’m in a healthy, committed relationship,” she tells me. “I just happen to be in one with two women.”

Lucy tells me a little about the women she’s involved with. “They’re both incredibly smart and know their way around firearms. And they’re great with Dylan. He loves the both of them as well.” As to who exactly her partners are, she remains tight lipped. “A lawyer doesn’t kiss and tell,” she says, her grin turning cheeky.

It’s hard to believe that a woman of Lucy’s position and history could be so human, but that humanity is something she strives to exemplify for her son. “I don’t want my son to look at me and think that he has to be cruel or hard to get by in the world.” She wants Dylan to understand that kindness and warmth and being human aren’t weakness, they’re strengths. “I want him to see me and Jimmy and my partners and be like, ‘There’s nothing wrong with helping another person or with being kind.’” It’s a surprising admission, given her line of work, but it’s certainly not unwelcome. If anything, it makes her seem even more human. “Of course, you’ve got people who have very different opinions but,” She gives a casual shrug as best she can with one arm in a sling. “They’re not raising my son.”

I realise towards the end of our interview that neither of us has mentioned the elephant in the room: her last name. The nameplate on her desk is a stark reminder. DIRECTOR LUCY A. LANE. Lucy notices where my eyes are at. Her smile turns sardonic. She assures me that she received her job entirely based on merit and that she wholeheartedly does not support her father’s views. It sounds so rote, like she’s had to say it a thousand times, it makes my heart break for her.

It’s obvious that even with the power her last name carries, Lucy is very much a self-made woman. “I’ve fought tooth and nail to get where I am,” she says. The law degree on prominent display makes that much clear. “I’ve had to fight even harder to get seen as my own person and not as ‘General Lane’s daughter’ or ‘Lois’s little sister.’ I might’ve joined the army for my father, but I stayed for myself and I’ve done over the years has been to make a difference through my own effort.” I’m reminded of something that Lucy said earlier in the day, about why she decided to pursue law instead of staying in the Signal Corps. “Lois writes about the world’s problems and our father adds to the world’s problems, so I decided I wanted to fix the world’s problems,” she said, glancing out the window and towards the city her agency was tasked with protecting.

We end the day much like we started it: with Lucy gearing up for another confrontation, only this time it’s not a physical one, it’s a socio-political one. In two weeks time, Lucy will be on Capitol Hill testifying to the Senate on behalf of the aliens who fought alongside the DEO and NCPD during the Daximite Invasion six months ago. It’s stunning move for the head of an organisation that hadn’t been on friendly terms with the alien community. But in a way, given the kind of woman Lucy is, it makes sense. “I believe that everyone has the right to due process and justice regardless of species or homeplanet,” Lucy tells me as we wind down. Having gotten to know Lucy as well as I have over the course of a day, I can tell that it’s an earnest statement.

I ask if she’s worried about the upcoming Senate hearing. Lucy flashes me a smile. “Not at all. If anything, the Senate panel’s scared of me. I’m a powerful bisexual woman with a biracial son and two girlfriends, after all.” Her confidence and cheek is infectious and I find myself smiling right alongside her. Lucy Lane wears many hats: soldier, lawyer, leader, mother. But those hats only tell part of her story. The whole, overarching story behind Lucy can be summed up as thus: she’s an amazing woman. Simple as that.

[hetamavi]

Did England Raise America?

It’s widely accepted in this fandom that England raised America. If you’ve ever seen or, unfortunately, got caught up in a shipping war concerning UsUk, it’s an argument I can guarantee you’ve seen be thrown around.  

However, that argument is one I want to call into question. Because, the thing is...England DIDN’T raise America.

Throughout this analysis, I will cover why the two don’t qualify as an adopted family relationship. Both Hetalia canon and historical information will be used. I will also use this perspective to analyze the two as separate characters. All translated images used here are from hetarchive and hetascanlations.

One more thing! This analysis is not intended to convince you of anything as far as shipping is concerned. Whether England raised America and whether the UsUk relationship is romantic are two distinct topics. I have many motivations for writing this analysis. Trying to tell you what to ship is not one of them.

LOOKING AT IT HISTORICALLY

The first American colony was established in Jamestown, Virginia in 1607. The American Revolution started in 1775 and ended in 1783. If we were to say the American colonies were still considered colonies until the very end of the war, this would mean that Great Britain and the United States had a colony-colonizer relationship for 176 years. A relatively very short time period for a society to be established and then grow until finally declaring and winning Independence. So.  

How did this happen so quickly?

The answer lies in the fact that, from nearly beginning to end, the British left the colonies to take care of themselves. Which makes sense logically when you think about it. Britain had its own regional issues and the distance provided by the Atlantic Ocean wasn’t making governing the American colonies any easier. So, Britain neglected to do so. The biggest British presence in the colonies came in the form of Royal Governors, but even their power was more theoretical than actual thanks to the power over the purse assemblies (which consisted of colonial elected officials rather than anyone appointed by the King) wielded over these governors. If a Royal Governor didn’t comply with the needs and wants of the those in the colonies, their paychecks were cut short. In they were compliant, they would get bonuses. This power over the Royal Governors only increased as time went on until the Assemblies were the main governing power in the colonies. (Source) (Source)

The most significant attempt at having any form of British policy came in the form of the Navigation Acts which were passed in the later part of the 17th century. The Navigation Acts were an attempt to regulate colonial trade, but what can I say other than they were very poorly enforced policies that failed on every level? Again, due to issues such as distance, it would have been more trouble than what it was worth to actually enforce the Navigation Acts so smuggling became a pretty common thing in the American colonies. (Source) (Source)

Unintentional neglect evolved into a degree of intentional neglect starting in the 1720s with the appropriately termed period of “Salutary Neglect” (though Great Britain started to loosen up its control even more than it already had starting back in the 1690s). Edmund Burke, who served as a member of British parliament, can be credited with naming this unofficial policy:

“That I know that the colonies in general owe little or nothing to any care of ours, and that they are not squeezed into this happy form by the constraints of watchful and suspicious government, but that, through a wise and salutary neglect, a generous nature has been suffered to take her own way to perfection; when I reflect upon these effects, when I see how profitable they have been to us, I feel all the pride of power sink, and all presumption in the wisdom of human contrivances melt, and die away within me.”

Starting in the 1720s with Robert Walpole’s (Great Britain’s unofficial first Prime Minister) rise to power, Great Britain intentionally started to turn a blind eye to colonial activity, particularly the already mentioned smuggling. The idea was that if the colonies were left alone to flourish, Great Britain would profit. This “let them do whatever” mentality lasted until the end of the French and Indian/Seven Years’ War, when heavy taxation started to take place in the colonies to pay for the war. And, thanks to the poor reception (to say the least) of the heavier taxes, Great Britain, for the first time since the colonies were first established, made more serious attempts to have a prominent presence in Colonial America (with things such as the “Intolerable Acts” and more taxation). This heavier presence combined with the previous long-time neglect is what led to the American Revolution that kicked off only 168 years after the first colony was established. (Source) (Source) (Source)

To sum this all up, Great Britain had a glaring lack of presence in its American colonies that led to a strong sense of autonomy. This sense of autonomy led to the American Revolution.

SO WHAT ABOUT HETALIA?

Now that it’s been established the notion of England raising America doesn’t make much sense from a historical perspective, it’s time to move on to Hetalia itself. After all, Hetalia doesn’t always perfectly match up with history so I can’t just end this on nothing but historical facts.

So, what about Hetalia then? What is the pre-Revolution relationship shared between America and England?

It’s one of absence and rapid growth. Let’s start from the beginning.

Here’s something from one of the earliest canon portrayals of colonial America. The strip starts out with England thinking of all the responsibilities he’d have to take on as America’s guardian. But the strip ends with England coming to the realization America is perfectly fine by himself, alluding to how the real-life colonies were self-sufficient without any British supervision. It’s a quick reference to colonial history, but one telling of what’s to come.

Here’s something a bit more telling. England leaves America and returns to find he’s developed into an adult or almost adult physical appearance. The first thing I want to talk about is young America’s reaction to England leaving him. While it’s not abnormal for a child to be upset when left alone, America is upset to the point of sobbing and begging England not to leave. Is that the type of reaction a child would normally have to being left by someone who was constantly around? No. Because normally the adult figure would return very shortly. But that’s not the case here. America is upset because he knows that once England is gone, he’s not going to stop by again any time soon.

Moving on to the second part of the strip, my first point seems to be proven right. Even with America’s quick physical growth, England must have been gone at least for a few years for such a dramatic physical change to have taken place. Speaking of, there’s that rapid colonial growth I was talking about earlier! We’ll get to see more of that later.

Now we move on to the Davie strip. The comic starts in Davie’s childhood and ends after his death. While I can’t say for sure, I’d guess this was a time span of 60-70 years and, judging by America’s appearance, took place during the earlier colonial years. Which leads me to suspect America’s growth started to REALLY speed up starting in the late 17th century, early 18th- around the time when Salutary Neglect was most prominent. Not long after the likely time Davie passed away.

So, 60-70 years. And America was a colony for only 176 years (less if you want to end at the beginning of the Revolution). And England has only two brief appearances, with each being many years apart going by Davie’s changing physical appearance. I think that information makes this comic the most telling in how often England was around colonial America.

It also makes thing a bit more tragic doesn’t it? The America I see here is that of a very lonely child who craves attention and company. So, he latches onto Davie, who is unfortunately a human that quickly passes away.

Moving on, we get a strip that shows America’s unusually fast growth. By the time he has a teenage body, Canada is still around toddler age. Also, worth mentioning is that America is seen with a book in both latter two panels and Canada’s way of approaching America and his wording in the very last one implies America is constantly busy. This is the diligent America I needed to see to completely match him up with colonial America in reality.

Here we do NOT see England holding his hand throughout this learning process. America is shown taking on the task of learning politics on his own and of his own free will. This is where the “England raised him” argument becomes extremely frustrating to me. Combine this strip with the one with the buffalo from earlier, and we get to see a hard-working, self-sufficient America that brought upon his own quick growth in the absence of his colonizer. A reminder not to take his modern obnoxious personality at face value. He is, in fact, VERY competent.

THE AMERICAN REVOLUTION

And with that, it’s time to talk about the American Revolution. I want to bring attention to the “I’m no longer your brother” line. This dialogue if often disregarded, since you can’t actually cut off familial relationships with words. However, I don’t that gives the full picture of what he means here. This is NOT a declaration of a sudden, immediate change.  

Think back to everything I’ve talked about up to this point. America showing a capability of handling himself at a young age, England’s absence throughout his growth, America growing up extremely quickly, the diligence and dedication he showed in teaching himself throughout that speedy growth…

Again, he is not making any sudden declaration of cutting familiar ties. He’s acknowledging something that has already happened. America has proven he’s more than capable of being fully independent by raising himself up into someone capable of taking a stand against England in under the time span of 200 years. The child England found is gone and England needs to acknowledge that.

With that said, let’s talk about England for a moment. Particularly his state of mind throughout all of this.

In Europe, England had NOBODY. He was the black sheep, the guy with no friends. So, he turned to America, or rather the idea of America, as a source of comfort.

America became his emotional crutch. But, besides such a thing being unhealthy, his relationship with America was, for the most part, not something represented in reality. He liked the IDEA of there being someone there for him. Once you get attached to at least the idea of a person always being there for you, you don’t NEED to constantly be there with them. As long as America is there waiting for him when he does have the time to stop by, his imagination can do the rest with sugarcoating reality. This is an accurate take on the different perspectives of the British and the colonies, with more emotional investment thrown in to make England seem more sympathetic and human. The British thought of the colonies as an entity completely subordinate and loyal to Great Britain. But the colonists didn’t really see things in that way. All the time they had spent left to their own devices had built up a spirit of autonomy.

When the Revolution breaks out, he reacts to the possibility of abandonment violently. Of course, there’s practical reasons to not want to lose the American colonies. But in England’s case, he seems to be driven by his emotional investment and reliance on America. Everything builds up until England finally breaks down in the end.

It’s not the cutting of familial ties that makes this scene so tragic. It’s seeing reality catch up to England. It’s seeing his loneliness and fear of abandonment completely exposed. It’s seeing that he kept fighting even when he had no Army behind him (possibly because everyone else had already given up). It’s seeing even some of America’s soldiers giving England looks of pity. It’s seeing America looking down on him and commenting on his fallen image.

As sad as this is, it needed to happen. Being under another nation’s rule was becoming a hinderance to America’s further growth, and England had become unhealthily attacked to something that amounts only to a fantasy. The bond was a toxic one.

MODERN TIMES AND CONCLUSION

Keeping this section brief, I’ll end this analysis on this scene.

America says he’s jealous of the kids specifically. Because, these kids have something America himself didn’t get the chance to have: a fulfilling childhood loaded with consistent affection.

America didn’t have an affectionate childhood, he was mostly alone. Or put more accurately, he didn’t have much of a childhood AT ALL. His early days weren’t anything you can attach much familial love to. He was more like an orphan than someone under the loving care of a father/brother figure. He was alone, so he had to grow up and raise himself (in this case, that happened on a more literal and physical level).

Saying England “raised him” is a dramatic misrepresentation of what happened and it’s a dramatic misrepresentation of the depth both characters have.

England wasn’t upset over losing a son. He was upset over losing an emotional crutch that he rarely even got to see. He broke down, because of insecurities that were an issue far before the Revolution happened. His miserable appearance during the Revolution wasn’t just apart of some isolated event. It was a look into England’s very troubled and lonely mind.

America wasn’t just some kid who decided to rebel against daddy. He was someone who had thrown away his own childhood, so he could raise himself. Nobody was there to help him. What he accomplished was through his own hard work and he, understandably, wanted that to be recognized.

And to those of you who are still put off by the title “brother” being used in America’s colonial days, remember that it’s a title that’s used very loosely in the series with the biggest perpetrator being “big brother France”. In this way, having a “big brother” indicates having a friendly relationship with an older male, especially one in a higher position of power. Another example of non-related characters using “brother” to describe each other are Norway and Denmark (with Denmark also addressing Iceland as such and overall thinking of himself as a “big bro”).

[toonstarterz]

BECAUSE I’M NOT POPULAR, I’LL READ WATAMOTE: CHAPTER #132

The Disneyland shenanigans are officially over, and Tomoko goes back to her unchanging school days.

...nah.

One of the more introspective punchlines of the series was when Tomoko thought things would go back to normal after the Kyoto trip, only to realize how much her life has changed because of it. It stands to reason that the Disneyland trip would have the same life-changing effect on her, so in this case, that punchline becomes moot. Change, however gradual, is inevitable now, and this chapter highlights just how much Tomoko has changed in terms of her maturity.   

Chapter 132: Because I’m Not Popular, I’ll Get A Kouhai

Normal is never static. What was normal yesterday is not normal today. And what they thought was abnormal has since then become normal. Such is the life of Miss Tomoko Kuroki. 

Would’ya look at that. A hint of Minami’s development has finally been realized. With her “friends” Katou and Okada hanging with Nemoto, Minami has grown enough self-awareness to see that she doesn’t have the sort of friendship with them that she’s been trying to force. Could this be the start of Minami’s growing inferiority complex? 

Fourth wheel, but yeah.

I think this is the first time Mako and Yuri have directly acknowledged Tomoko’s hobbies. Sure, they likely got the impression during that time Tomoko recommended books to them during the snow day, but they’ve always been more reactive than proactive. While they probably don’t know the more otaku-ish media Tomoko consumes, seeing Mako reciprocate that gesture, and in a positive approach no less, is so heartwarmingly nonjudgmental. 

Minami is not actually as condescending as she sounds in this translation. While she does acknowledge that her relationship with Yuri and Tomoko is inconsequential, she actually appears to give some serious thought to bettering her relationship with them. As it stands, getting shot down at Disneyland seems to have opened Minami’s mind a bit to the idea of letting down her bully-shield to let in the companionship she so desperately craves.

My personal favorite aspect of Tomoko’s character is how she’s so media literate. Not just in stories themselves, but the practices that go into them and how they influence society and vice versa. But what keeps Tomoko from being a strawman character is how her responses are framed. Her instinct, when offered a shoujo manga, is not to thank Mako (but I’m sure she did), but to criticize the genre. When reading is involved, Tomoko is relentlessly brutal.  

There’s so much you could say about how Tomoko pretties herself up when inserting herself as a shoujo manga heroine. All I can say is that, all things considered, Tomoko has infinitesimal levels of self-importance. 

I could overreach here and say that the bully in the second panel looks interestingly similar to Katou...but I’ll leave it at that. 

As a realist, it makes sense that Tomoko would be disdainful of the absurdly optimistic nature of shoujo manga. For reasons I’ll expand upon later, I believe that Tomoko may actually be expressing a degree of protectiveness for all her criticism.

I grinned like a moron at this.

As we come to realize, Yuri is generally very restrained in her behavior towards her friends, reactions and all. Whether she hesitantly agrees with Tomoko or subtly disapproves of her actions, Yuri almost never throws in all her cards. But this may be the first time Yuri has ever sided with Tomoko on something 110% of the way. It warms my heart, even if Yuri ends up “corrupted” this way. 

Many others have already noticed this, but Tomoko’s assessment of shoujo manga appears to reflect the growing relationship Minami has with them, perhaps even foreshadowing where it might lead. It’s worth noting that Minami is more resigned than the dialogue suggests. She partly sees the impossibility of befriending them as a weakness of herself, leading her to take the last resort of seeing her old group. Now, I wouldn’t necessarily be as disappointed as Tomoko if Minami did befriend them. With Nico Tanigawa’s ability to avoid obvious cliches, I think they could pull it off.

Aside: I’ve always been fascinated by how simultaneously mature yet childish shounen manga often is. Not that it’s necessarily a bad thing. To put it briefly, when done correctly, it can influence young teens to take a healthy approach to life’s dark realities. 

Bless these friends and how supportive they are of Tomoko’s loner habits.

To this, I’d like to call forth the trope named, “Generic Cuteness”. In the case of shojo manga, the “plain” girl is still drawn beautifully, because... 

a. then the reader can self-insert as being more pretty than they really are, and b. the most basic of human anatomy, i.e. “plain”, is still universally appealing due to a lack of glaring deformities, which manga art styles tend to replicate.

As I said before, Tomoko’s first-hand experience with unrealistic hopes has made her empathetic to those who’ve been in her shoes. She knows how the influence of media can set up naive youngsters down a path of disappointment, so her rejection of such manga could be her own passive way of strengthening up today’s youth. Wow, I sound old.      

It’s pretty sad how self-deprecating Tomoko is about her own looks, especially since making friends seems to have subtlely prettied her up. To reference another trope, the “Hollywood Homely”, the casting of which is no doubt politics in play, never fails to make me roll my eyes.

Is that manga a parody of Wolf Girl and Black Prince? You couldn’t pick a better shoujo series for Tomoko to poke fun at.

The Return of Imae’s-Sister!

...or not.

Creeper in the background: “..disgusting.”

Already, we can see that Hirasawa is not as oblivious as her resemblance to shoujo manga heroines would lead one to believe. Her response to Tomoko’s questions tells us that she’s well-aware that hanging with a lot of guys makes her look like the type who “gets around”. The impression would look even worse if they knew she already has a boyfriend. 

I do question why being surrounded by guys is viewed as potentially negative whereas nobody seems to bat an eye when it happened to a girl like Futaki. I won’t go into too much detail since the latter isn’t in this chapter, but it may have something to do with Futaki being untraditionally pretty, and thus easier to root for.      

This is one of those lines that could mean something entirely different depending on who says it. It’s easy for a girl to sound arrogant and smug for such “unfairness”, but Hirasawa’s sincere expression makes her sound sympathetic, at least I hope so.

Admittedly, the idea that someone can have a personality that “makes you want to bully them” is an idea I have difficulty wrapping my head around. It’s that implicitly sadistic reasoning that doesn’t jive with people who are strictly against bullying. The only way I can kind of see it is how some people are easy to tease because of how prudish they can be. 

I do understand the idea of humble-bragging in that it's in the same vein as people loudly sighing to elicit concern. It’s ultimately a cry for attention, but it doesn’t seem to be Hirasawa’s intention. Of course, since Tomoko has only seen her at her “scummiest”, it makes sense that Tomoko wouldn’t exactly see her in a positive light. 

Nah, if we’re being cynical, you’d be into shoujo manga because you’ve never been in their shoes.

It’s kind of a shame that despite having actual friends who like her for who she is, Tomoko still carries that pessimistic mentality about her public image. While she’s certainly not as self-conscious as she used to be, she hasn’t gone to the point where she can believe people could have a positive first impression of her.

Indeed, you could say that Tomoko only managed to sustain the friendships she’s made because they each have benefited her in some way. Conscious effort has never been the girl’s strong suit. 

I love how when Tomoko starts putting reality in the context of shoujo manga, her mind goes into disarray when trying to translate the multi-faceted ways of the real world into neatly summed up cliches. Goes to so that fiction should never, ever be a guidebook for reality. 

“Disgusting, disgusting.”

AWWWWWW...so she did give Yoshida a charm.

AWWWWWW...and Yoshida returned the favor with a gift of her own.

When, oh when will Tomoko finally admit that Yoshida is her friend?

One of the things I appreciate about Yoshida’s character is that they don’t ever invalidate the delinquent part of her when they emphasize her cute side. None of that “tough-girl-who’s-not-really-tough” shit happens here. Yoshida is a violent, temperamental delinquent who just happens to have an innocent heart. That thuggish side is always going be a genuine part of her personality, but it also makes her kindness much more meaningful since it requires a lot of effort on Tomoko’s part to reach it, which she ultimately succeeded in doing.

Is “Pudding-head” supposed to be a diss at Yoshida’s hairstyle? Not bad.

It isn’t always evident, but I do appreciate the fact that despite thinking Hirasawa is a potential slut, Tomoko still takes it upon herself to defend her, how little it may be. Her response is a little condescending, but then again, Tomoko tends to mildly abuse the little bit of authority that comes her way, so it makes sense character-wise.  

"DISGUSTING, DISGUSTING, DISGUSTING!”

I told myself I wasn’t going to go too deep into the semantics of this manga anymore, but...Yuri being so dismissive of non-friends by referring to them as “some” is so gloriously in-character of her.

I never thought I could say this someday but...yes.

Yes, she does.

Don’t take it personally, Hijirisawa. Yuri is not a malicious girl by any means, but unless one has managed to cut through her hard introverted exterior, Yuri just regards anybody else with massive disinterest. It’s really nothing new at this point, but viewing it from another character’s POV does highlight how Yuri’s apathy can be just as hurtful as it is endearing.  

Hmm, if what Hirasawa saying is true, then it’s safe to assume that her old friends weren’t directly bullying her and just began to ignore her out of spite. To put it rather darkly, I don’t believe Hirasawa would care so much about making female friends if they were bullying her to the point of misery. In short, it bothers her, but not debilitatingly so, which is why Tomoko has difficulty empathizing with her. 

I never get tired of Nemo’s Closed-Eyes-Angry-Smile Expression. 

And here we get the first glimpse into the Friendish Conflict between Yuri and Nemoto. From what it looks like, Nemo is going to routinely try to bait Yuri into responding in such a way that suggests a stronger friendship than they currently have. Of course, Yuri ain’t having none of that, opting to be her usual honest self and refusing to give Nemo any ammunition to trap her. As someone who finds Nemo to be more interesting when someone pushes the limits of her unmoving smile, I’m very curious to see how their dynamic will unfold. 

Uh...what? Nemoto knows her? Um...okay. 

Triggered.

I love how Nemo’s anger manifested in her usual smile wasn’t something that Tomoko alone picked up on. Apparently, it’s just as unnerving to everyone else is it is for her. At least Hirasawa didn’t have to face the devil’s spawn that is Nemo’s dull eyes of horror.

Despite how Nemo said she would start being more upfront with people, it appears that there are still times when Nemo will keep things to herself. That being, anything that would put her in a state of weakness. If she were to just come out and say that she’s bothered by how Tomoko forgot her at the entrance exam, that would mean presenting vulnerabilities that Tomoko or anyone else could use against her. For Hina Nemoto, her aggressiveness is a tool to mask her own inner turmoil. 

Hirasawa walks a very fine line with how she’s being presented here, and I believe that’s intentional. Thus far, she’s been continuously getting the short end of the stick, and a lesser manga could’ve have done this as a way to say, “it’s her own fault”. But even as she considered this, the manga doesn’t perpetuate that at all. Instead, Hirasawa is a victim of circumstance. She keeps meeting specific people in specific situations that aren’t really helpful. One of Watamote’s core themes has always been that popularity is not a good judge of character. Nice people and bad people can both be popular, and even if the rest of the cast sees her as the latter, Hirasawa is most definitely in the former. 

At least she doesn’t have the stereotypical shoujo heroine obliviousness. 

I swear, “Not that I care,” is going to be this series’ tsundere phrase.

Damn, Yuri’s insecurity levels shot through the roof. It would appear that eating lunch together is one of those small, friendship things that Yuri’s holds precious. As one of Yuri’s genuine faults, it’s definitely one that only gets improved with time. She can let Mako go off with Minami because her friendship with Mako is secure enough, but you’ve seen how frustrated Yuri got witnessing Tomoko getting all buddy-buddy with Nemo. It only makes sense that’s she be more threatened by it, even if it’s not really justified.

I feel bad I got more invested in the background conversation even though Hirasawa takes up half the panel...

A+ for effort, Tomoko.

This series has dramatic irony down pat, and by far, my favorite joke that uses this is when someone unfamiliar with Tomoko views her as this kind, pure-hearted girl when she so clearly is not. It works well because of the amount of truth it reveals. People like Tomoko tend to overcompensate their kindness when trying to avoid a situation, which is how Mako thought she was a kind person back in the toilet confrontation chapter.

This joke puts a twist on that because here, Tomoko is looking to gain something. But because she’s too straightforward to be manipulative, she simply speaks the truth, even when her inner monologue betrays her nastier intentions.  

C- for motivations. Classic Tomoko. 

Quite the turnaround, huh? The girl who would slut-shame the not-actually-sluts is now interested in their sexual escapades. I’ve mentioned it before, but I do appreciate how Tomoko no longer caring so much about how people perceive her has made her a lot more boldfaced. She doesn’t even care so much about her social standing dropping from the ire of first-years. It’s still scummy, as only Tomoko can, but at least she’s only scum where it’s already a garbage heap. 

Total annihilation in 3...2...1.

“DISGUSTING.”

As you might expect, this was a rather liberal translation that wasn’t nearly as aggressive in the original. In typical shoujo rival fashion, Ucchi said something along the lines of, “Don’t get carried away.” It can be assumed that the reader is aware of the cliche, which helps dilute the harshness and makes it a tad more comical. Of course, it’s the kind of thing that only works with Ucchi, who is pretty much a walking, yet three-dimensional punchline. You can’t help but feel bad for Hirasawa here, but at least her bully is a sexually-frustrated Emoji Girl who is too foolhardy to be truly threatening. Hardcore bullying has never been this manga’s style, and I’m sure it’ll never be.  

Can we have a Battle of the Kouhais now? Akari VS Hirasawa. 

Side note, I just started my first full-time job last week which, along with some lifestyle changes, will inevitably cause delays in my reviews. But as always, don’t worry about this series falling off the face of the Earth. I’ll be sticking with this manga to the very last chapter. Count on it.  

[agarthanguide]

Your guide for the care and feeding of writers is adorable, but what about when writers expect you to do all those things for them on demand? Both my friend and I are writers, and I don't remember the last time I worked on my own stuff because when I'm not tending to her writer's needs which are very demanding I'm bedridden from overstimulation of all things related to writing. Could you do a similar guide but for writers regarding their readers?

Oh man. I get lots of questions like this. I have never responded to one before, but I think I’m gonna do it now. Please forgive if I ramble- I’m on a taxiing plane, but for some reason I NEED to respond to this.I posted that Care and Feeding of Writers thing a few years back, and it’s gotten an enormous response. It’s hard, because people react very strongly to it, usually in a positive way, occasionally in a very negative way, and that’s obviously a gratifying experience (most of the time). And that’s awesome! I’m glad that people find something personal to react to in my work. But the truth is- It’s supposed to be a sweet, jokey kind of thing about MY writer, @akathecentimetre. And I don’t actually get to do most of those things for her. I mean, I gleefully read her work and respond to it, but we live thousands of miles away from one another, and the comic was really more about all the things I wished I could do for her, and all the things I hope she can do to take care of herself. And of course it’s not a one-way street. She’s my Writer, I’m her Artist, and she does so much for me, every damn day, in every damn way, that isn’t touched upon at all in the comic, because the comic isn’t actually about the length and breadth of the relationship (no little comic could ever do justice to our deep friendship)- I just wanted to make her smile. MANY PEOPLE have chosen to read that comic as a sort of weird mantra of codependency and selfishness, with a dash of servitude in it. I find that odd, because I feel it was meant pretty clearly as a sort of wishful love letter, with perhaps a hint of satire. OF COURSE you aren’t supposed to serve a writer. You shouldn’t serve anyone. You should take care of yourself. You should want the best for the people you love and admire. You should surround yourself with people who love and admire you, and you should all help and support each other in a healthy way. That is my wish for all the writers and readers and artists in the world. It is both a simple and a complex wish, and it really can’t be summed up in a… 6? panel joke comic. Also don’t take life advice from memes on tumblr.

[sienna-walsh]

[darklightescape]

so i did an interview spread with my deck (i used this spread for it)

got some interesting answers

Tell me about yourself. What is your most important characteristic?

XX - Judgement

the little book says that judgement signifies an awakening of the soul and a resurrection of understanding. when i looked in the advanced section hoping for a more detailed explanation it just explained the science behind multiverse theory (which is the quantum theory symbolized in the card art), which i think is also appropriate

so basically this deck is saying it’s gonna blow my mind

What are your strengths as a deck?

The Phoenix

ok so this is a really rare card but the book describes it as “the fool reborn” and says it represents beginning again but this time with new wisdom. 

so i think what it’s trying to say is that it specializes in really transformative readings about really important stuff.

What are your limits as a deck?

The Universe

ok this card is unique to the quantum deck (also i’m beginning to wonder if i shuffled well enough considering that this entire spread was major arcana) and it represents the same idea of infinite awareness and stuff as the world does but on a much bigger scale.

so what i’m getting is that this deck’s weakness is that it knows too much, which sounds kind of egotistical (this whole spread kind of gave me the vibe that this deck has a huge ego) but from a practical standpoint that means i probably won’t get good answers if i ask it about something mundane

What are you here to teach me?

IX - The Hermit

i guess my shuffle job wasn’t that bad because it wasn’t all high-number cards. the little book says the hermit signifies searching for answers, deep mysteries, and exploration of the inner landscape.

it’s gonna teach me a lot of important things about myself and answer some of my really pressing questions, is what i’m getting here. so, like the first card in the interview said, this deck really plans on blowing my fucking mind. considering that the cards are based on scientific theories that blow my fucking mind, i can’t say that’s an inappropriate personality for my new friend to have.

How can I best learn and collaborate with you?

XIII - Death

death symbolizes letting old ideas and beliefs die and embracing change, according to both the little book and a dimly-remembered tarot panel i attended last izumicon

“forget everything you think you know” is what i immediately got from this. gonna have to say that i’m definitely getting a cohesive idea of a personality here.

What is the potential outcome of our working relationship?

XIV - Temperance

the temperance card represents balance, combination, and two opposing parts coming together to make a cohesive whole, according to the little book

my new deck thinks we’ll balance each other out and make a good team. aww.

also i did a quick mini-spread just to sort of ascertain a basic physical form

How old are you?

Ace of Wands

the ace of wands is characterized as sort of youthful, but the card depicts photons, which are old, old, old particles, and he knows way too much to actually be chronologically young. youthful immortal?

What is your gender?

The Hanged Man

normally i’d look up symbolism but i think the fact that “man” is right there on the card sums it up

What do you look like?

The World

ooh the art on this card is really pretty my boy is pretty. possibly androgynous like the figure on the card, but pretty.

Is there anything else i should know?

5 of Cups

oh, wow. i don’t know who he’s lost, but he’s lost someone important to him. yikes. hope he’s doing alright.