#they are both Good under it all. its more like. the hero and the anti-hero.

[shoezuki]

i been thinkin bout sampard a lot in terms of their values n morals n like. i feel ppl dont really address the fact that they are very much on opposing sides a the law in terms of what it would mean for an actual established relationship. which ofc is fine who cares but it Interests me so much like

at their cores they Do share a clear care for other ppl and the planet they live on. but gepard is very much a by the rules, follow the law, justice driven character who will follow laws to a T. its integral to his character. Opposing this is Sampo though like. he's a criminal and he messes woth people and we can argue that he isnt evil but he IS unlawful and orchestrates scams that harm people to arguable degrees.

i think the solution i see to this dichotomy the most is sampo turning a new leaf n becoming a Good Civilian but tbh i'd argue that his criminality is just as integral to his character as justice is to Gepard's. ive said before i cant imagine him ever changing into a Good Boy but i genuinely mean it.

i just think it'd be the most contentious aspect to their relationship like. that gepard believes the law is always moral and just, sampo doesnt see the law as always moral nor that He should always be moral. i dont know fully how they would actually parse that n i wanna explore it

[linkspooky]

TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

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

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

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

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

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

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

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

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

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

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

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

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

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

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

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

BTVS:

Shows Buffy and Faith as fully realized people

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

Breaks down those two categories

Redeems it's bad girl

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

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FAITH: My dead mother hits harder than that.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Literallly.

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

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

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

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

Buffy and Faith are fully realized people.

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

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

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

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

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

Breaks down those two categories

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

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

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

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

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

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

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

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

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

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

Redeems it's bad girl

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HOW TO BURY YOUR GAYS

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

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

MHA:

Doesn't show Toga and Ochako as fully realized people

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

Doesn't break down down those two categories

Doesn't redeem it's bad girl

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Doesn't allow the Bad Girl to be redeemed:

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

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

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

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

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

[sonadowwiki]

The Differences Between SEGA of Japan and SEGA of America/Europe (Part 1)

On this page, we will talk about the difference between SEGA of Japan and SEGA of America/Europe; the difference between Japanese SEGA and English SEGA. Please be sure to read through all the text for a complete understanding of the topic.

An often misconception made throughout the whole Sonic the Hedgehog community is that Japan and Western SEGA are the same or share the same views. Although both are SEGA, SEGA America and SEGA Europe are international branches of SEGA Japan. They do not inherently own the Sonic the Hedgehog series. SEGA Japan (or SEGA Sammy), who is the main branch, owns them. SEGA Japan and SEGA West can share very different opinions on the Sonic the Hedgehog series. Because of this, not all material from the English/West side of SEGA are canon or official and can't be seen to reflect the current outlook on things due to not being fully approved by the Japanese side of SEGA (the ones who truly own the series). Western SEGA is known to make decisions without Japan's full consent or with only Japan's initial consent on multiple occasions. Some examples of this are: Archie Comics, IDW Comics, Mobile Apps, Sonic Speed Simulator on Roblox and even posts on the official American Twitter accounts. For the mobile apps, they are looked over by HARDlight in Europe; they are part of the Western Europe branch of SEGA. Although Sonic Forces: Speed Battle was initially approved for creation by Takashi Iizuka, he did not overlook its development after approving its creation and he does not represent SEGA Japan's wishes. Therefore, it has been under the supervision of Western SEGA and does not always have the approval of both the Western and Japanese side of SEGA when decisions are made.

When responding to a fan about why the Japanese and English versions of the Sonic the Hedgehog content were so different from each other, Eitaro Toyoda of Sonic Team hinted that the Western side of SEGA has an agenda when translating or handling their content.

SEGA West often portrays the Sonic the Hedgehog characters very differently than SEGA Japan. One such major difference is in how they handle Shadow the Hedgehog. In English medias, Shadow is often portrayed in a very mean manner where he doesn't care about anyone but himself. Such examples of this are English created series like Sonic Boom and the IDW Comic series. English medias often portray Shadow more mean than usual on purpose to give the impression that Shadow is the type of person to be completely alone, someone who doesn't want to help anyone but himself, someone who hates everyone completely and someone who wants to kill people all the time. This can also be seen in the translations of things like the video games from Japanese to English.

Japan, on the other hand, makes Shadow more stoic and cold, but not completely mean. He is more robotic than the very angry person English medias portray him as. Though, even though Shadow is seen as a bit stand-offish, Sonic Team themselves have said that Shadow is kind and sweet. Eitaro Toyoda even mentioned that, "Shadow is not a bad guy by any means, but he's not completely good either… At any rate, I trust he will not act in a way that discourages us! :)" The reason for this can be derived from Shadow being a Tsundere type of person. Meaning, he is the type of person to deny anything nice he has done. An example of this behavior can be seen in the Sonic x Shadow July Calendar Story where he denies helping the people in the town for a good cause. Shadow is not the type to want credit for doing something good, but he is still an Anti-Hero who will do what he thinks is right if it means doing the right thing or creating the right results. This is often not portrayed correctly in English medias due to them making Shadow seem like a reckless person who will fight for what he thinks is right, even if it's completely wrong to do. Shadow has more morals than that and will not cross certain lines like hurting innocent people for no reason. In Sonic Battle, he even states that his desire is to bring hope to humanity. And since it is his desire to bring hope to humanity, him hurting humanity for no reason or for the fun of it doesn't make sense. Therefore, that characterization of Shadow is incorrect. Though an Anti-Hero, Shadow is still a hero and Japan often portrays that in their medias or when they have some control over some American medias like Sonic Prime's Season 2 Episode 1 and 8.

Another character that is often portrayed differently by SEGA West is Sonic the Hedgehog himself. There are many instances where Sonic is portrayed differently than what the Japanese originally portray him as. One such prime example is how Boom Sonic is shown to have complete fear of water compared to Modern Sonic who has a dislike for water, but doesn't fear it in Japanese medias. Another difference that can be easily seen is how Sonic is shown to be apathetic in most situations in English medias compared in Japanese medias. An example of this is how in Sonic Frontiers Sonic showed to not care about SAGE's death. This is not a normal occurrence for Sonic as he has shown to care about other character's deaths or similar like Chip going back to sleep in Sonic Unleashed, Shadow being thought to have died at the end of Sonic Adventure 2 and other emotional situations. Though despite this, Sonic has been shown to be quite apathetic in English medias or only care in sudden bursts of emotion for his friends at random points in time. Other differences are like how Prime Sonic is shown to be less smart and more touchy (physically wise) than Modern Sonic. Though the movie is from the English, the movie is overlooked heavily by Japanese officials for Movie Sonic to be more accurate to their view of Sonic or to how they want Movie Sonic to be. Because of this, even Movie Sonic shows some traits that Modern Sonic from Japanese medias show. One such trait is how Sonic doesn't like to be touched by people he is not comfortable with. In Movie Sonic's case, this would have been Movie Tails. At the time he first met Movie Tails, he wasn't comfortable with him hugging him. But Movie Sonic was comfortable with his family hugging him because he was more comfortable around them since he knew them longer and finds them family. This trait of Sonic being more physically touchy is usually seen in English medias like the IDW Comics, Sonic Prime and even Sonic Frontiers.

[Sonic the Hedgehog 2 (Movie) - Movie Tails hugs Movie Sonic]

In Japanese content such as Sonic Unleashed and Sonic Generations, you can see Sonic push away physical contact or see him feel very uncomfortable from the contact. It's a very stark difference between mostly English medias and Japanese medias. Though there are individuals that Modern Sonic is comfortable touching. Such examples are Tails, Knuckles and even Shadow back in Sonic Adventure 2 when they clasped hands after defeating the BioLizard/Final Hazard. For Tails and Knuckles, you can see him freely touch them in several medias. One such prime example is the calendar story pictures from 2021 where Sonic holds hands with Tails and sits on top of Knuckles' head. There's also Sonic Heroes where they often touch each other to move through the stages. He is also not bothered in touching people when it is necessary to save them, help them in some manner or make things go by quicker.

[Sonic x Tails 2021 Calendar Image from Sonic Team]

[Sonic x Knuckles Calendar Image from Sonic Team]

[Sonic Adventure 2 - Sonic and Shadow claps hands in victory after defeating the Final Hazard]

Though, there is one Japanese media that is exempted from this and that's Sonic X. The reason why this one has Sonic touching others a lot compared to other Japanese medias is due to who was in charge of Sonic Team at the time. The one in charge at the time was Yuji Naka. Yuji Naka can also be included in as one of the individuals who had an agenda while he was working for SEGA because his views are vastly different than those who work in Sonic Team today. He has left SEGA a long time ago in 2006 and was even proven to be a criminal in 2023 by admitting to participating in inside trading (JP news article) while working in Square Enix. Also, one of his policies in working with people was to dangle people's dreams in front of them to make them work well, but never allowing them to have it. Because of all of this, it is best not to take what he thought or says as anything official/canon anymore. This should especially be the case because Sonic Team's views have been shown to be very different and has changed drastically since Yuji Naka has been the head of Sonic Team.

Inside trading is the trading of a company’s securities by individuals with access to confidential or material non-public information about the company. Taking advantage of this privileged access is considered a breach of the individual’s fiduciary duty. [Cornell Law School]

Inside trading is an illegal offence that is more widely known as Leaks or Rumors to the general public. It is basically stealing confidential data within a company and giving it to others without permission. Many game companies go through this, including SEGA. Those who participate in leaks/rumors/inside trading are criminals who are stealing data from companies and are giving it to others illegally. What they are doing is against the law and can be punished by the law. The reasons why people do this vary, but most do this to invest in stocks to gain a profit from projects they believe will do well like Yuji Naka did in Square Enix. Other reasons can be to invest fans into something to make them buy the game to make more profit on it or not buy it to make less profit on it or to gain power and fame by giving out information before it is released for clout.

[Part 2]

[breached-containment-script]

Some arguments KA shippers make are valid and true. But that they don't necessarily do anything nearly enough to be valid anti-zutara arguments!

Stuff like, that quick burns probably wouldn't scar (Katara's hands) or that if she had gotten scarred, that Toph's feet should have gotten scarred too. This is valid.

That it's true that when Aang's negative aspects get developed to their final extreme forms in theories and fanfiction, it can feel weird and offputting to people who naturally gravitate towards staying approximately around canon vibes; that some descriptions of behaviour sound too strong to some people which results in pushing them away from zutara as a negative reaction to associated criticisms of Aang. But that also personal headcanon developments (even those with strong foundation in canon) are individual preferences and people are able to choose which headcanons to like, without using disliked ones to paint an entire show interpretation negative.

It'a true that most of Aang's bad behaviour in the show can be attributed to him being just a kid and not being self-aware enough yet. He's not intentionally malicious in most cases. His negative reaction towards Water Tribe culture and food is a depiction of a kid not knowing how to respect something that makes him uncomfortable, even if this kinda clashes with him having already had friends from all over the world. Unfortunatey, canon progression doesn't depict him learning as many lessons as he should nor does it show him outgrowing negative traits even though it should have. THIS is the source of headcanons which appreciate intentionally exploring main character developing in a negative light. His negative traits constantly repeat and have a common stay in his canon character. This is a fact, especially with his claim that he'd be in the Avatar state had it not been blocked, out of frustration that actors on a stage implied Katara doesn't feel the same way about him. This is a very bad thing, we've seen both him and others being afraid of it, it causing massive destruction and Katara having the burden of calming him down. How would she theoretically calm him down in the case he did enter the Avatar state because of this reason? Assuming she didn't have romantic feelings for him (which should always exist as a valid option for any character, to test if they have a healthy interaction) - she could pray he'd accept it and calm down on his own, or be under extreme pressure to lie that she likes him back. Even if she did like him back, having to admit under the threat of a destructive force being unleashed, IS NOT GOOD. Especially as the characters never addressed this later.

Yes, Zuko did a lot of bad things but not only are they overblown by KA-fans and Zuko-antis, they constantly purposefully ignore that he got punished repeatedly, suffered in canon for his actions and kept doing very risky and selfless things to make up for his past, they also forget that time flows FORWARD and that WHEN events happened on a timeline MATTERS. It's not an argument that Zuko burned Suki's village in book 1 when he helped rescue her and others by risking his life in book 3 and she forgave him. One thing is collateral damage in a cartoon filled with cartoon violence, and another when for example Long Feng kills Jet. Viewers should be able to discern the tone difference, because shows (or any creative work) especially with multiple writers, aren't homogenous, and aren't tonally or message-wise completely unified. Don't start your deduction argument from the idea that a show is fully consistent and is absolutely sending a singular message, start an inductive analysis from ideas about what a show's context is, what its goals are, what the tone feels like in each section, did it accomplish what it was aiming for, etc. Likewise Zuko could have been written even better in some areas and with more context!

However him hunting down heroes, knocking out Katara etc. isn't a gotcha argument some people think it is, because Katara knocked him out as well, twice even so badly he didn't wake up for quite some time; and he was struck, rejected, ignored, mocked and criticised by both Iroh, the gaang and Katara especially after he sided with Azula under Ba Sing Se, but then they forgave him as he actively worked to atone, and Katara herself forgave him for what he did. She then risked her life to save him back. The writing is very logical and consistent in this.

[venus-haze]

Homelander x Supervillain!Reader Headcanons

Note: Mildly fem-coded reader, but no other descriptors are used. This is mostly from Homelander's perspective. I always thought it was interesting how apart from the "superterrorist" arc in season one (and into season two), supervillains aren't really a thing in The Boys universe, pretty much everyone with superpowers is affiliated with Vought.

Warnings: Violence, some mentions of sex, Homelander being Homelander. Do not interact if you’re under 18 or post thinspo/ED content.

Your powers emerge later in life, so you aren’t one of the many lauded child prodigies who accidentally burned down their own birthday parties or took out a school bus, but almost as soon as you spit at a cat-caller and the side of his car melted from the acid, Vought had its eye on you

Unfortunately for them, you aren’t interested in the slightest. The money’s good, but signing your life away to a mysterious corporation was never in the cards for you. Why let a bunch of suits call the shots when you were the one with powers? Pretty soon you’re melting bank vaults, wreaking general havoc, and living on the run. You love every minute of it

Homelander knows he can take you on, but to his shock and fury, he finds himself in a meeting with Stilwell and the marketing team who tell him that having a supervillain “arch-enemy” would further mythologize him. As much as people love having someone to root for, they’re just as intrigued by the evil thing that goes bump in the night. Besides, you mostly damage property, not people, so they figure you’re not too much of a threat to the general public

He thinks it’s ridiculous, not letting him laser you in half or snap your neck makes him look weak, or even worse, that you’re as strong as he is. The first time he takes you on, you spit at him as a Hail Mary, and to both of your shock, he hisses in pain and his skin blisters–comparatively mild to the outright bone-melting your toxin was capable of, but it cements your space in his mind as his arch-enemy

To his frustration, the suits at Vought are right, social media posts that mention you in regard to Homelander get a lot of engagement and the general public sees him even more as an otherworldly protector figure

You don’t have a supe name, but Vought dubs you ‘Rosethorn’ because you’re “beautiful yet deadly.” They slap your face on comic books that fly off the shelves. You find it ironic that Vought still finds a way to make money off of you despite your refusal to work with them

Homelander isn’t nearly as amused. The first time he sees one of the Homelander Vs. Rosethorn comics he sees red. “More like thorn in my fucking side,” he growls at the cartoonified version of you. He resents you for taking half of his spotlight, but part of him knows his resentment comes from the fact that you don’t have to answer to anyone. You do whatever the hell you want, and some people regard you as a kind of anti-hero rather than an outright villain. He doesn’t understand, you’re a criminal. You rob, cheat, and steal, and just because you hand out fistfuls of dollars every once in a while, you’re turned into some kind of underground folk hero? 

Social media is buzzing with theories that you’re actually a Vought plant to make Homelander look good or that you’re stronger than him and holding back. Naturally, people begin shipping you because of course they do. He has mixed feelings the first time he sees #Roselander trending on Twitter. It doesn’t help that sometimes you leave notes at your crimes scenes that read ‘Give Homelander my regards, XO’ 

Despite the internet frenzy and Vought marketing, you and Homelander have only been face to face a few times following the first encounter, each one giving more fuel to Homelander’s fire as he broods, stewing in his resentment toward you. You laugh at him, taunt him, literally spit at him, and he can’t do shit because Vought says not to

He definitely fantasizes about hate-fucking you, they’re all extremely deranged and elaborate. Overall, he has a lot of really complicated emotions when it comes to you. There’s some underlying affection that he’ll deny to anyone who asks. Sometimes he lets his mind wander, and in the ideal situation you’d reform and join Vought and–who the fuck is he kidding, part of him wants to break the invisible chain that keeps him tethered to Vought and see if the grass is really greener on the other side

Homelander decides he’s going to end your reign of terror once and for all when Vought indicates they want supes in the military. They now think your existence is just one of the barriers standing in the way of that, making the other Vought supes, but especially him look weak and incapable. With you out of the way, it’ll show their supes can handle military missions

Easier said than done, because when he finally corners you, ready to laser you in half like he should have all those years ago, he hesitates, and that’s all it takes for you to pounce

“Why do you let them tell you what to do? You’re stronger than them. Why do they call the shots?” you ask, and he doesn’t miss the conniving ass twinkle in your eye. He knows what you’re doing, and his gloved fists ball up at his side as everything in him screams to just kill you already. He knows you’re right. He’s the one with the real power, but he lets them order him around like a dog

“Shut the fuck up,” he hisses through clenched teeth that he wishes were clamped around your throat–except he doesn’t, not really. You’re giving him an out, but he can’t take it, he’s too afraid to. After all, who is he if he’s not The Homelander?

You give him a sad smile, the kind old friends give to each other in movies when they see each other for the last time. He lets out a shaky breath. He won’t miss you. He won’t even think about you once Madelyn hears what he’s done and he gets supes into the military and Vought a lucrative contract with the Department of Defense. Another success for Homelander

“I really do like you,” you say. “I just wanted you to know that before you kill me.” Your heartbeat is steady, gaze locked in on his glowing red eyes. No one’s ever looked him in the eye upon facing their certain death from him before

He grabs your face, resisting the urge to squeeze it hard enough to break your jaw, “You’re a real piece of work. I don’t answer to anyone, got that, Rosethorn?”

You whisper your name to him, your real name, and he repeats it softly before letting go of your face and taking an unsteady step back. “You owe me. I didn’t kill you, and now you owe me.” You nod in understanding before disappearing into the night

He returns to Vought covered in blood, claiming victory over his arch-enemy once and for all. He never played poker, but you’re an ace up his sleeve if he could ever have one

[wylanzahn]

New-ish post, kinda posting this on different platforms and getting a general vibe check for some ideas I have. But basically this Halloween I want to actually do something for the TTRPG and Actualplay world (oh yeah I’m into those kinds of things). I want to try and get both players, GMs, and casual viewers alike something fun to look forward to this especially spooky season. I’ll probably talk a little more when we get closer to the actual season of scare-giving but just know that if you’re interested I’m still looking for people to join in!!

As my team and I’d first debut we’re going to try and do a two to four session actual play, which will probably be released in the weeks leading up to Halloween. We’ve had a couple good friend way in on the matter of “setting” but now I come to you fine folk. Mind you this is a horror campaign/arc so if…

Isn’t your thing, keep on a moving.

But without further ado here are a couple of the possible settings for our players, and myself, this coming espookee season…

1.) Somewhere off the coast of Florida, 1926 end of the first major housing boom in the state, a small island which calls back to the Spanish Empire, is Isla Boñyela, a small port made tourist location during the boom of disposable wealth in 1920s America. A small group of friends from the northeast tag along down for the perfect paradise vacation. Only to discover the island is much much older than anyone could have ever assumed. Whilst dealing with upstart gangsters, unnerving US soldiers, and the terrified locals they find something older than even undead conquistadors.

While I don’t have a working title, this is an old project in the running which I’ve had a few attempts at revamping over time. Its previous title was “perfect paradise vacation,” and runs on the Call of Cthulhu 7th Edition game. Anywho it’s a blast of fun with Caribbean lore, tone of anti-imperialism, and something dark lurking beneath the waves.

2.) 1950’s America, the nonexistent state of Mid-Atlantia (DMV coded) in a small suburban neighborhood where nothing goes wrong… it’s almost “All-Hallows-Eve” and little Johnny and Susie want nothing more than to trick or treat this year with all the big kids, Dad’s finally getting the big promotion at work, and Mom just got a new waffle iron! Sure everything is neat here in America. Heck you just got new neighbors! Newlyweds in fact from somewhere big and fancy, they sure aren’t like any of us in our simple town. But… and you can’t say exactly why but things are different. Or perhaps they’re all too the same? Everyday a repeat of ever other bland day that followed you over and over and over and over… and you could swear, while no one may listen to you there’s someone out there. Stalking you from outside your own home- or- perhaps, he’s just your friendly new neighbor welcoming you… to the end.

Ahhhhhh! I’ve also been working on this one for a sec and god writing it out does excite me. This is also a Call of Cthulhu game but modified/homebrewed to have a uniquely 1950s horror feel. This is definitely one of the more unique games I’ve written and am truly interested in seeing where it goes (even if we don’t choose it). This is for those who feel like isolation, fear of the unknown, fear from within, and liminal space horror comes best into play! So whadya say neighbor?

3.) The Enemy of My Enemy is My Friend, or How I Learned to Love Strahd, okay so this one is a lot less horror-y and falls much more under the comedic spooky category, just so yall know. Deep in the middle of Barovia, the ancient kingdom of Vampires, meets a council of Count Strahd von Zarovich's greatest commanders and lieutenants to hunt down Strahd's greatest enemy Rudolph van Richten and his party of heroes known as "The Grape-Smashers." Strahd's lieutenants have been gifted powers greater than any mere mortals, but are these gifts enough to stop Van Richten, or even enough to stop the personal ambitions of each other? Come find out in "How I Learned to Love Strahd."

Okay, as much as this may seem like a joke suggestion it cracks me up and I feel like it would be ill-advised of me to not at least mention it. In an era where "The Curse of Strahd," is well-overdone at this point, it's worth a take from an all evil "revenge story." Obviously this will be in Dungeons and Dragons 5th Edition, which, in my opinion, is really hard to use for horror, but this is a nice go-around. Come for the evil PCs, maybe a PvP battle or two, and a game of intrigue in the shadows of Barovia! All that and a buff Van Richten.

4.) Before Annapolis was ever called such it was known as Providence, a settlement of exiled Puritans in the Province of Maryland, but these early days were no easy set-up for the far-flung protestants... in the mid 1600s the English Civil War spilled out into their holdings across the waves as brother turned on brother, clan erasing clan, and something from the shores of the Old World would arrive in the New. When around every corner could be someone you've known your whole life, what's stopping them from hunting you in the depths of winter. All matters made worse when rumors of a witch begins circulating your small home.

Think "The VVitch" (2015) meets "A Field in England" (2013) meets Atun Shei's recent film "The Sudsbury Devil" (2023). It is the unexplored wilderness of early colonial Maryland, but the hateful warmongering that slowly builds that makes the horror and tension so clear. Unsure of what system we'll be using, but maybe the new Regency Cthulhu system.

5.) The Great Baltimore Fire of 1904 destroyed some 140 Acres of Baltimore proper... and in it's rubble awakened something far worse. But you and your fellow survivors are just trying to get by in the aftermath of the fire... only for something to call out, whether some strange magicks or perhaps just a sickness... but sickness doesn't even linger like this... it doesn't call to you...

Some more local history, aspiring from the actual Fire of 1904 things quickly devolve from there as rumors of a cult begin to spread along the streets of Rosland Park... a mysterious illness leaving even more dead... and the death of an eclectic professor. Definitely using the Call of Cthulhu 7th Edition for this one.

Aaaaaaaand that's it! Let me know what y'all think!

[vln-vibes]

Some thoughts

As someone whose both into Maribat (even if I haven't been as involved lately) and BatPham/DPxDC its hilarious that people have come to the conclusion that yes;

The Bats are definitely getting involved with these tired teen heroes that just so happen to have black hair and blue eyes and totally Wayne Adoption Bait TM

Both end up needing the Bats' help because of the whole World's Greatest Detective shtick regardless of the premise (Anti-Ecto Laws and Uncovering Hawkmoth's ID)

If we're going to the Shit's Already Hit the Fan Route then both parties have concluded that the best place to lay low was definitely the crime capital of America; Gotham City

(Even if they do so they try to stay under the Bats radar because of his no metas allowed rule (thats fanon btw) even if neither actually qualifies as metahuman (magic and a medical condition really)

Jason definitely has something going on because of the Pit that can be cured/treated by means of magic or ghost shit

Constantine is probably involved or is getting dragged into this mess whether he wants to or not

(If involved Captain Marvel probably has passing knowledge about the GZ or Miraculous)

Both Danny and Marinette being smol and no one expects them to be Stronk

Same duo also has been thrusted into unwanted responsibilities apart from the whole Teen Hero thing at 14 (Mari's age is unfortunately still up in the air but I'm pretty sure that's her age during the origins eps, thanks Astruc)

(Speaking of pretty sure both fandoms disregard what the showrunners/creators say about the show also but thats besides the point)

(Ghost King Danny (fanon but v good idea) and Grand Guardian Marinette (canon unfortunately for her because sure why not give this girl more anxiety))

Government is corrupt and is probably the reason why these kids get no help from experienced heroes

I just find this all hilarious looking into it

Also the fact im like 75% sure that both group may have gotten hate from the main DC fandom because the crossovers were seeping into their tags too

[turniparts]

So... Life series winners as Omori characters anyone? Individual ref sheets and more info under the cut :D

Okay SO, for starters I will just say that I am biased towards Scott Smajor and that is why I made him the main character. However, I do believe that in the end he does kind of make the most sense for Sunny considering that everyone else fits better as the other characters imo. Also I used tints of blue instead of black and white bc drawing Scott in black and white just simply feels incorrect.

Anyway, Scar and Pearl are just 100% Hero and Aubrey respectively. A lot of Hero's character revolves around his charming personality, which he uses in headspace to get people to do him favors. I feel like this matches up with Scar's "too charismatic for his own good" schtick that usually happens in the life series.

Aubrey reacts to a negative experience where she was abandoned by IMMEDIATELY lashing out at everyone and becoming a social outcast, hanging out with delinquents. I don't think it's rocket science to see that Pearl, who reacted to negative experiences where she was abandoned by going crazy and lashing out at everyone, matches her character really well.

Going from there, Scott as Sunny makes sense because of his abandonment of Pearl in double life mirroring Sunny's retreat from Aubrey and his friends in how the latter reacted.

Then Grian as Mari because 1) Desert Duo(not necessarily romantic, just in how they are inextricably linked), and 2) He was the first winner and with Watcher stuff I feel like his character is best suited to Mari's role in headspace.

That left Cleo and Martyn as Kel and Basil. These two were the ones I debated the longest, because I feel like they both suit both roles. I went with Cleo as Kel because she's the one who stuck with Scott throughout every life series, like how Kel never gave up on knocking on Sunny's door.

Martyn and Scott were of course the mean gills, and Martyn won through attacking Scott despite all they'd been through together. Basil experienced the trauma with Sunny but still ended up attacking him in his fear. Plus with listener lore I feel like Martyn being the only other person to know the truth makes sense.

Also, whether you look at it in the celestial bodies interpretation(Grian Sun, Scott Stars, Pearl Moon, Martyn Mars, Scar Earth, Cleo Pluto) or tarot cards interpretation(Grian Sun, Scott Stars, Pearl Moon, Martyn Tower, Scar World, Cleo Fool), the omori characters also match up to those.

Sorry that was a lot of explanation for why I linked the specific characters I did. Onto the flowers! Scott as a poppy actually makes a lot of sense even w/out flower husbands, as it's a flower that symbolizes sleep, due to its use in sleeping gas, as well as death, which both match up with how Sunny acted in game.

Pearl is a Datura becuase of its ties to the moon(Moonflowers) as well as its other name(Devil's Trumpet) referencing her Double life character. It is also a very spiritual flower for many cultures, which ties into Aubrey and how she attends church.

Cleo being a succulent feels self explanatory, much like Kel's cactus in game they are easy to take care of and grow under many conditions.

Scar is lavender because of its associations with calming and devotion. Hero acts as the group's peace-keeper, and Scar with this role would do the same. It also has some medicinal properties like soothing headaches and having anti-inflammatory effects, which I feel fits well.

Martyn is a water lily because the season he won was the mean gills season, which I wanted to tie in. Their meaning being rebirth(which also matches the poppy) fits the way that Sunny can only face the truth after Basil nearly kills him. They also symbolize enlightenment, which again aligns with how Basil/Martyn is the only character to know the truth other than Sunny himself.

Grian is the red zinnia because firstly, I wanted him to have a red flower, and secondly its symbolism matches pretty well. Familial love, of course, represents how Mari(Grian in this case) was not only Sunny's big sister, but also acted as a sisterly figure to the other kids. While they are tough flowers, they also symbolize remembrance, pointing towards the death of Mari/Grian. I probably could've kept everyone except Scott and Martyn's flowers the same, but I actually had a lot of fun looking into flower meanings and stuff(sorry if it's not al 100% accurate).

I was honestly surprised with how many parallels I was actually able to find here. This really started as a silly thing I played with in my head because I enjoy both of these medias, but the more I thought about it, the more I went "huh, that actually does make sense", so now here we are.

@easily-distracted-by-fandom , I hope you enjoy the ramble. I also hope that I find more people who know what the heck I'm talking about lmao

Edited in an attempt to make this easier to read instead of big blocks of text lmao

[disphonous]

THIS BLOG IS HALF ANTAGONISTIC, HALF GOOD - THINK VIGILANTE OR ANTI-HERO.

THIS BLOG IS ALSO MEDIUM TO HIGH STAKES. CHECK CONTENT WARNINGS BEFORE INTERACTING.

Hello there, everyone. I'm Keir Azul, but please just call me Keir or K. I tend to flirt and compliment people in general if they are in my age range, but its more so for fun then anything. Of course, exceptions occur. I'm taken, please refrain from flirting with me. Thank you!

I work as a self-employed woodworker stationed in Unova, please dm me for commission prices. I also do carpentry, but I work with a company for that.

Yes, I am aware of the crimes committed. I just truly don't see a reason to care currently. Of course I'm free to hear others opinions, though I can't say that they'll change my mind.

All mail types are turned on EXCEPT musharna.

Anyways, on to my pokemon.

I currently have a Toxtricity named Mallow and a Lucario named Reed. Both of which I have raised since they were a Toxel and Riolu respectively.

[Mod information under cut]

Updated 10/3/24 - content warning update

Hello hello!! Mod here!!

You can call me Cypress or Ezra!

I use any pronouns but she/her, so go ham on whatever you'd like to call me!

I also run @beeanonxx and @retroredx

I am in America, the EST timezone to be specific.

CONTENT WARNINGS

I made this blog for Keir because I started interacting with Adon on @hoodmancol through anonymous and actually ended up liking the idea I had for a character here. (You should definitely go check them out honestly)

Current story basics explained

Extra big text so people can't say I didn't warn them!! That has been a problem before!

Mentions of : being an accomplice to war crimes, terrorism, and alcohol/drinking as a whole. Being part of a cult, trying to leave a cult, forced employment but not in a slave way if that makes sense. The feeling like your being stalked/stalking. DEATH IS A BIG ONE! Drowning being used as a metaphor, potentially paranoia inducing text. Finally, any somewhat suggestive anons. Flat out Nsfw will never be posted, but suggestive might be.

THIS LIST IS ALWAYS SUBJECT TO CHANGE.

BLOG CREATED AND INTRO POSTED : AUGUST 23RD 2024 1:31 AM

[cousmemes]

dialogue starters from DOCTOR WHO SEASON 8. feel free to edit for context / continues under the cut.

"I'll wager you've not seen anything like this before."

"Listen to me. You need to calm down."

"I'm not flirting, by the way."

"What have I done wrong?"

"Are you judging me?"

"Just because my pretty face has turned your head, do not assume that I am so easily distracted."

"Whatever it takes, I will keep you safe. You will be at home again."

"I'm cold. There's no point in us both being cold. Give me your coat."

"Are you cross with me?"

"You were talking about me?"

"What is happening right now to you and me is more important than your egomania."

"Nothing is more important than my egomania."

"You've redecorated. I don't like it."

"You can't see me, can you? You look at me, and you can't see me. Have you any idea what that's like?"

"I was being funny. I just do that."

"How long have you been there?"

"Are you going to look that terrified when you take me out for a drink?"

"You were smiling at nothing. I'd almost say you were in love."

"I need you."

"An anti-climax once in a while is good for my heart."

"We cannot waste this chance. It won't come again."

"Isn't the universe beautiful?"

"I think you're probably nice. Underneath it all, I think you're kind and you're definitely brave. I just wish you hadn't been a soldier."

"I don't know if you're a good man. But I think you try to be and I think that's probably the point."

"Old-fashioned heroes only exist in old-fashioned storybooks."

"Do people ever punch you in the face when you do that?"

"Well then, draw your sword and prove your words."

"People are so much better at sharing information if they think the other person has already got it."

"Right, you do that again and you'll regret that."

"We can't just let them kill him!"

"She should not have told you any of that."

"Perhaps others will be heroes in our name. Perhaps we will both be stories. And may those stories never end."

"I wasn't making assumptions about you."

"You just have to squeeze through."

"How did you get in?"

"You know, you should have more than one chair. What do you do when people come round?"

"The deep and lovely dark. We'd never see the stars without it."

"I mouth off when I'm nervous and I've got a mouth on me. Seriously, it's got a mind of its own."

"Tell me the truth - because I know when people are lying to me."

"I am not going to leave you in danger!"

"Sorry, who put you in charge?"

"However this goes, whatever happens, don't let me end up like that."

"They have no power over you now. You can do exactly what you want to do now. Exactly what you've always wanted to do."

"Go and enjoy yourself. Don't do anything I wouldn't do."

"There's no way out of this. We're going to die here."

"Why are you being nice?"

"Every time I see you, it's like you're in a rush."

"The next few days are all about you. I promise."

"Human beings have incredibly short life spans. Frankly, you should all be in a permanent state of panic."

"How can you think that I'm her dad when we both look exactly the same age?"

"He's my boyfriend. I thought you'd figured this out."

"Why wouldn't I be okay? I was fine till you blundered in."

"It's funny, you only really know what someone thinks of you when you know what lies they've told you."

"Please, tell me how I fix this."

"I'm bored. Let's go somewhere fun. What do you say?"

"I know men like him. I've served under them. They push you and make you stronger, till you're doing things you never thought you could."

"Is there some sort of fancy dress thing on this evening?"

"I am so sorry. I've had a wobble. It's a big wobble, but it's fine. Forget about it."

"Where are you and are you in trouble?"

"Lying is a vital survival skill. And a terrible habit."

"Do you want the good news or the bad news?"

"We're in the bad news! I'm living the bad news!"

"Why can't you just say it? Why can't you just say I did good?"

"You are enjoying this just a little bit too much."

"Don't make me say it."

"I don't want to be the last of my kind."

"I don't want to see more things. I want to see the things in front of me more clearly."

"I just want to know the truth. I don't care what it is. I just want to know it."

"Shut up, shut up, shut up. I need to talk to you."

"Oh, everything is better when you're here."

"Please speak to me. This is - this is killing me.

"I love you. And you are the last person who's ever going to hear me say that."

"By now, I'm sure you've heard the rumours, and it is with great sadness that I must confirm them to be true."

"He was alive, and then he was dead and it was nothing."

"Don't. Be very, very careful with that."

"I know what you're doing. You're trying to take control."

"I am in control. Do as you are told."

"I was curious about how far you would go."

"You betrayed me. Betrayed my trust, you betrayed our friendship, you betrayed everything that I've ever stood for."

"Do you think I care for you so little that betraying me would make a difference?"

"Speak for me again, I'll detach something from you."

"This isn't possible. The dead don't come back."

"Be strong, even if it breaks your heart."

"Say something only you could say. Tell me something only you would know."

"Whatever it takes, I will be with you again, I swear."

"So you know who I am, right?"

"Look, are you going to help me? Because I can't do this alone."

"And didn't all of those beautiful speeches just disappear in the face of a tactical advantage?"

"I wasn't very good at it, but I did love you."

"There's something that I have to tell you and, er, it's not good news so just - just listen, okay?"

"Never trust a hug. It's just a way to hide your face."

"Thank you for making me feel special."

[fandomwandererer]

Mirror dp (maybe dpx mirror dc)

Heavily inspired by the brilliant series cirque de triomphe which is an earth 3/mirror world au, and the dpxdc parts will be with that version of mirror dc

But basically the idea is every hero is a vilian and vice versa. Normal peoples moralities are more or less unchanged.

To me, this version of danny would have gone insane inside the portal, and came out wanting to hurt people as bad as he was. He's able to hide that he is dead still, but he basically uses his time as fenton just planning a new way to make everyone else feel this terrible burning pain he feels.

Vlad is not particularly obsessed with maddie, but still obsessed with danny ( he thinks he can redeem danny)

Many of the various ghosts that invade are there bc they sense a disturbance of ectoplasm hurting people, and it reminds them too much of their first deaths to leave it be.

The giw and Fentons are just slightly more ethical and a good bit more open to accepting new evidence. When plasmius and skulker ask them for a way to stop the wraiths wrath, they change their minds on all ghosts are evil, bc plasmids looks so genuinely distraught at the prospect. - bc they are sorta villians, I'm sorta flipping there morality

I don't know what Val is gonna be like in this. Possibly contacted by plasmius to help fight danny, but then discovers his identity and does an 'I can fix him' only to get brutally murdered by danny and comes back as a similarly insane ghost

The dragon Prince dude is gonna be on the run after his sisters hostile takeover.

Clockwork is basically the same except he actively enjoy watching peeps suffer. Dan is a version of danny driven sane who attacks and fuses cores with his one time allies, the tyrant rulers Pandora and frostbite. Clockwork interferes bc their is a lot less suffering and he wants his angst back thank you.

Dpxdc under read more.

If this is a cirque de triomphe dc fusion, danny never joins the society bc he's too busy tormenting his town and being locked away again.

Vlad uses his company and ghostly wiles to undermine Wayne industries subtly, and is .. remarkably resistant to assignation attempts. Its one of the last of grayson talons missions, and infact becomes something of a tradition. When Bruce thinks they are fully trained, talon is sent to assaniate vlad masters, they always fail, but its a good test of how well they work.

Vlad made friends with both the insider and lex separately. The insider by sending them an anti possession blueprint( which is eventually made and given to Billy and any other marvels) and lex by being at a lex Corp business event in metropolis when ultraman attacks and massively helping lexs emergency engineering session

[devine-fem]

what got you into batjokes and what draws you to them as a pairing?

oh my GOD A BATJOKES ASK. anyway. it was telltale batman. like even lego batman was too silly for me to even care and out of every version of batjokes, i think lego batman falls flat for me. WHEN I FOUND TELLTALE BATMAN IT CHANGED MY LIFE. when i played that game it was the catalyst for my love for dc. ive never seen more tragic gay people in my life. in telltale instead of the joker being a maniac, it goes off of that idea that he doesn't have a backstory and basically his role is switched with harley. harley is the joker and joker is more harley, including the obsessive love and abusive tendencies. joker is likable guy, hes actually just genuinely mentally ill with a few identifiable illnesses. when he gets nervous, he laughs, he doesnt like to be blamed for things, hes sometimes irrational and jumps to conclusions but theres moments where hes just trying to do some good even though hes not taken seriously. its somewhat relatable even. if you pick a curtain route you get a curtain ending which entails that bruce tries so hard to make the joker something hes not. just the fact that he tries SO hard to keep his code while having joker has basically a glorified robin. theres so many basic romance tropes and honestly, i argue that they were genuinely in love with each other in that game because if you reject selina you get scenes with joker instead and the game dev comfirmed that joker is bi in the game and batman's whatever you make him. watching their relationships and the concepts of their character clash in such a tragic way and then the ending where it all was just like..." whyd we even do this, it was bound to blow up like this... " like they had to prove something to themselves which brought both of them down in the most tragic way. WHEN I

TELL YOU I CRIED LIKE A BABY at the end of the game thinking about bruce and jokers relationship and how fucking SADD it was. my friends actually LAUGHED at me cause i cried literally nine times that night and i dont cry at games but something about that really grabbed me in and PULLED on my heart so bad. from then i went on a rampage researching anything batman and joker related and realized their relationship has always been homoerotic like this. something about the villian x anti hero trope really pulled me in. even though i hate this trope, fanon batjokes was something else entirely. just the idea of having someone be made to be your opposite. their constant dance and twisted love for each other I UGHHHH the desperation of it all, the drama, how much theyre willing to twist their words and beliefs, EVEN betraying the people theyre close to just for the other. oh other ships PALE in comparison to batjokes and toxic codependency and it saddens me how dead it is because its my second favorite ship under jondami. wish there was more content because its a REALLY good ship. and im very normal about them btw ugh thank you for the ask, i need this lowkey

[amarriageoftrueminds]

Ever since they put Sam as Cap both in 2014 comics & setting it up in phase 3 MCU to now Marvel's been pushing really hard to "correct" Steve's legacy in only being Cap in name & being more of an anti-government rebel. With Sam as Cap they push hard to make Sam's Captain America a blaring patriotic jingoism ad with neoliberal representation... You'd never have seen Steve be the bodyguard of the president of the USA as a premise of a story 🙄

It's annoying in its own right because along with the America patriot propaganda it logically follows ofc for characters like Sabra & her terrorist actor to easily appear in these stories with some Zionist propaganda.

But it's just really annoying to put it lightly how much Marvel - ever since first putting Sam Cap to page in 2014 - worked overtime to undermine Steve's character making CW a de facto IM movie & painting Steve as in the wrong  for being against the US gov authority & overall stripping back & removing Steve's righteous anger at the US State for what they did with Shieldra, or how FATWS compares its enthusiastically patriotic protagonist to make Steve look retroactively worse

& likewise precluded Bucky's post-WS character arc entirely & retroactively demonized his character as the insufficiently patriotic & therefore untrustworthy one. His whole backstory setup in CATWS painted the US gov in a bad light & culpable via Shieldra, so ofc Bucky gets villainized in phase 3 & likewise FATWS paints Buck at fault for being a target of continuous state violence & institutionalization while Sam- an agent of the state, part of the literal USAF -is presented as moral center while telling Buck he deserves to be at the whim of the US state and blamed for WS crimes the gov funded via Shieldra. Bucky gets surveilled & arrested & monitored by the same US State which funded the supersoldier mindcontrolled assassin program they blame him for while Correctly Patriotic Uncle Sam is shown as a Good US Soldier by contrast while Bucky's story gets retconned & swept under the rug for being to inconvenient to the Patriotic direction they went in.

The propaganda really ramped up with the ink and pages of Sam Cap drying off & becoming their new brand, but marvel's audience who tbh enjoy lapping at the Mouse 's propaganda pool refuse to see beyond the superficial aesthetics which is WHY US media frequently & purposefully chooses these aesthetics & act like neoliberal representation in oppressive structures is radical or progressive.

Which makes all the performative shock over Sabra in BNW fall flat since Sam Cap as a Marvel rebrand is defined by doubling down on Cap as a patriotic literal agent & defender of the US government. Sabra's inclusion is entirely ideologically consistent with what Sam Cap is about FFS, in FATWS the only other character besides Bucky who was exploited by the US gov is Isaiah who CORRECTLY outlines the relationship btwn America & Black ppl & Sam wholly dismisses him as crazy! THAT is was SamCap is about: telling Black ppl to STFU & be patriotic Obama style, but ppl are acting like Sabra is "ruining" Sam's otherwise totally not at all propagandistic stint as a now more patriotic 🇺🇸flag laden hero while America funds multiple genocides as the USA has always done since it's inception.

I haven't watched the trailer (and tbh don't intend to... too depressing) so I can't really comment on specifics of this.

But I will say that I was thinking the other day how MCU's complete refusal to do any Cap character properly, but especially Steve, had the knock-on effect of making it impossible to do a SamCap well too.

Steve was supposed to be impoverished / multiply disabled / ideologically Antifa / feminist / pro-union / New Deal Democrat / Irish-Catholic / urban underdog, etc. And it would make perfect sense for a modern black man to accept the legacy of all that, if Steve had been adapted properly.

In deleting all that and assigning to the mantel what America represents instead, they've turned the shield from an honour into an albatross.

But it's still contradicting their own canon to do so.

Because even the de-yassified MCU Steve never embodied America; he merely set an example to America.

Isaiah should not plausibly believe Steve's shield represents something bad -- as someone who knows nothing about Captain America would -- as if MCU canon!Steve never did any of the good things he did with it.

(This could've been a beat addressed in the main Cap movies; eg. someone assumes Steve is a Republican and his baffled response is 'huh??!')

Following canon, Sam's logical response to that should've been 'wtf it doesn't mean any of that where did you get that from??' not 'yeah but I want to represent that anyway.'

Isaiah correctly lampooned what America's legacy is... but no one bothered to point out that's not what Steve and his shield have represented. Not even the landlord-white version of him we have in the MCU.

That failure makes a nonsense of Sam's entire friendship with Steve.

Why would Sam be friends with the willing bearer of America's bad legacy?

Why would a decent Steve be friends with someone who wants to represent a bad legacy (maybe EG Steve would!) and so on and so on.

Though I guess it's no dumber than Steve not killing Peggy on sight for colluding with Nazis for decades, huh? 😕

I'm looking forward to all the jokes Sam is going to make about Isaiah being a brainless killing machine (y'know, to show what bros they are?)

And when he comes out at the end of it and tells Isaiah he needs to "do the work" to apologise properly for what he did while controlled.

Or perhaps he will suddenly magically understand the concept of innocence, now? 🤔

Sam siding with the authorities might be sadly consistent with the spirit they've taken him in (I've pointed it out before, but it is IC for him to be, eg. a dick to Bucky. Yer man's been doing that since day one).

But it at the very least it contradicts Sam's canon to willingly guard Ross, a man who threw him in enhanced-people-Gitmo like a "common criminal," to paraphrase Sam himself.

(Hey, why would the man who threw Sam in prison later trust Sam to guard him? Is it just a set up to screw Sam over again? Okay, but why would Sam fall for something so openly implausible? Are they giving him the idiot ball?)

The MCU are masters of 'we don't understand what this action we've assigned the character actually shows about them.' Or when they are assigning character actions that contradict past actions.

And they sure as fuck don't know what made CATWS a good movie.

[eccentricmya]

In defence of Maedhros

A couple days ago I vilified him, read his character in a truly unfavourable light, arguing that he was never a good guy. Well, this time I'll defend him! I don't think he was truly a bad guy either.

I start once again by summarising the general opinion on him: he was good then he turned bad, very bad, or even villainous. The phrase that caught my eye was "he ended up doing the enemy's work". Well, yes, if we assume the enemy only wanted to eradicate the free people. But I'm of the opinion that Morgoth was erasing dissension and opposition to his 'rule', his goal was not wiping out people but subjugating them.

Maedhros never did that. Yes, he killed refugees (an act when seen through the perspective of the world we live in seem even more horrific), yes he ruined Doriath, but he did not do these 'unprovoked'. Had his demand of the return of the Silmaril been fulfilled, there would've been no second and third kinslayings. One may argue that his reaction to not getting the gem was disproportionate to the offence. And I will counter-argue that the same logic can be applied to the people of Doriath and Sirion, who valued a jewel over their lives. The fact that the Silmaril escapes with Elwing shows an unwillingness to give up the jewel, even at the cost of the lives of their people. The Sons of Feanor were not asking them to give up their freedom and live under a tyrant, like Morgoth was, they were asking for a mere trinket, the return of which would've prevented all that bloodshed. The kinslayings in Beleriand did not happen in isolation or for some grand evil plan. They happened because both sides put pride before lives. (At least the Falmari at Alqualonde had he excuse of defending their own creations, not a stolen one.)

All this on top of the Oath as a driving factor. The text gives it an almost sentient quality in its wording of its presence. For the third kinslaying the Silm says this: "the third of the great wrongs achieved by the accursed oath." Not by Feanor or his sons but by the Oath. To me, this reads like the Oath has taken an evil turn of its own, much like the One Ring. And you will bend to its will, whether for good reasons or not, and few will be able to resist its call. As many have pointed out, Maedhros did resist the Oath, both before Doriath and before Sirion in repentance of Doriath. That is not how a villain works for me.

Some speculation- it is said that Feanorions did not have the guts to assail Luthien while she wore the Silmaril, and I raise you this: what if they did not attack her and kill her as the Oath demanded because she had turned human and could no longer be reborn?

Which brings us, at last, to a very controversial idea. Why is killing elves so bad? Elves who have the option of rebirth with no loss of memories? I think most of us forget that they're not human who, once dead, will never return in the same form, or if they are indeed reincarnated, then unable to recall their previous lives or meet their loved ones from before. Elves get to return to life and resume their lives from before. Indeed, that is one of the prerequisite for rebirth- that they're ready and willing to take up the life they had before dying. So how is it as bad as killing humans? I feel callous and heartless saying this, but ending an elf's live is like uprooting a tree. It'll take years for it to grow back from the seed again, but it will grow, not in the same place or time but it will exist again. Not like animals who die. Once they cease to be, there is no coming back for them.

In conclusion, I don't think Maedhros is a true bad guy, which is why I used 'anti-hero' for him, though maybe 'anti-villain' would fit better. He's simply someone working with the cards dealt to them, chiefly the Oath. Now sure, that is as much a defence as voluntary intoxication is in hit and run cases, but even the Oath was not of his own wording or sworn in isolation or with full awareness of what it truly entailed (otherwise words like 'torment' would not have been used in relation to its effects). The one who chose to swear to Eru was Feanor, while his sons chose to follow him. It's a minute difference but it's there, which is why Feanor is still the far more condemned one in the eyes of the Valar.

[fandomanimatic-tournament]

Fandom song animatic tournament: Bracket 1 Side A Round 3

Wolf in Sheep's Clothing - Set it Off

"So could you Tell me how you're sleeping easy? How you're only thinking of yourself? Show me how you justify Telling all your lies like second nature Listen, mark my words, one day (one day) You will pay, you will pay Karma's gonna come collect your debt"

Ready as I'll ever be - Tangled the series

"Now it's time to step up or it's time to back down And there's only one answer for me And I'll stand up and fight 'cause I know that I'm right And I'm ready, I'm ready, I'm ready Ready as I'll ever be"

Remember that we're voting on how Iconic they are for ANIMATICS, not for the song itself. In order to make things fair, the tone and mood of the song should not affect how iconic it is (for example, a serious song should not be considered more iconic than a joke song just because it's serious)

Propaganda and animatic links of the songs under the cut:

Wolf in Sheep's Clothing - Set it Off

Propaganda:

I was appalled when I found out this song had a chance if not appearing on the polls. This song is my everything. It was there for me in my darkest moments and for my brightest days. This song and all it's animatics got me through life both metaphorically and literally. This song is my everything

wolf in sheeps clothing turned me evil as a young child /pos

This had SUCH an effect on me in middle school

The anthem for edgy middle schoolers with tragic OCs everywhere Not to mention that "Burn. In. HELLLLLLLLLL YEAAHHHHH!" Is just downright iconic

Admittedly I still want to make an animatic for this myself, but it's a fun song that just OOZES villainous or anti-hero charm and popping up unexpectedly and the bridge???? Shifting from darker to hopeful only to drop back down?? "Start all over, start all over-- who am I kidding, let's not get overzealous here! You've always been a huge piece of shit" is just. mwah. incredible. And there's an official acoustic version of it too which I don't know if it's used as often but it has an entirely different vibe. Instead of the cocky or confident singer who has their target EXACTLY where they want them, it's someone who's given up and is tired of all of it. There's Options. it's fantastic.

Animatics with the song:

DSMP Technoblade animatic

Yandere Highschool

Your Turn To Die

Miraculous Ladybug

Scum Villain Self Serving System

Ready as I'll ever be - Tangled the series

Propaganda:

I can list at least three full animatics for this song for every major fandom I have ever been a part of, and still it's so hard to find them because there are so goddamn many

It's an absolute banger from the absolute King Alan Menken, originally from the pretty underrated Tangled the Series. I've seen animatics for this for like every fandom I can think of, and it deserves it because it slaps and has great vocal performances from Jeremy Jordan and Eden Espinosa.

i'm pretty sure this song is more well known than the show it came from is lol. i looked up "ready as i'll ever be animatic" on youtube just to confirm and counted 20+ of them, and i didn't even finish scrolling. it is a genuinely really good song from a /surprisingly/ good show that imo is super underrated. i definitely would recommend checking it out if you get the opportunity!

it's a fandom song that transcended its fandom and became a hit for twist villains.

The song really fosters creativity with how many animatics can create a darker AU where the usual protagonist (or a close associate) is made to be the antagonist because of injustice suffered and the other characters have to fight against them

I've seen *at least* one animatic of this song in almost every fandom I've looked into

It has a lot of Animaniacs because it is sung by an ensemble cast It is good for demonstrating a lot of different conflicting perspectives of characters for your big dramatic fight and its catchy and I love it

I mean everyone loves a scenario where one of the main cast becomes a villain for tragic reasons and the rest of the characters have to fight them while dealing with the betrayal and attempting to make them see reason

How in the actual hell does a song from a Tangled spinoff series go this spectacularly hard? More to the point, how does it have an animatic/AMV for practically EVERY FANDOM IN EXISTENCE?! Yeah, most people know it from that one Warrior Cats MAP, but there is SO much more. Not to mention the bucketloads of people who used this song for their own OCs, which is always a bonus.

Animatics with the song:

Star Vs The Forces Of Evil

Miraculous Ladybug

Sander Sides

Danganronpa V3 fantasy AU

BNHA Villain Deku Animatic

DSMP

Please be cautious and read the title, description and warning cards on the animatic videos if you decide to watch them. If you've got specific triggers I'd recommend even more caution when watching animatics of fandoms you don't know, since sometimes canon-typical themes don't get warnings.

[jalebi-weds-bluetooth]

Hey jalebi, I want to understand why did Arnav ripped Khushi's dori is it because she poked wrong wounds? Honestly in that moment Arnav's felt more grey than black or white! Would he behave the same with any woman who would poke his wounds anytime or its just in the spur of the moment with khushi?

Hey Anon,

Because Arnav is introduced as an anti-hero and he does everything an anti-hero.

"An anti-hero is a character who lacks a handful of the traditional attributes of a hero but is ultimately heroic. They may be bewildered, ineffectual, deluded, or merely apathetic. More often an anti-hero is just an amoral misfit. Some common attributes are: rarely speaking, being a loner, either extreme celibacy or extreme promiscuity, parental issues, occasional Past Experience Nightmares and flashbacks relating to a Dark and Troubled Past that can take many forms depending on the Anti-Hero in question.Typically, an antihero is the focal point of conflict in a story, whether as the protagonist, or as the antagonistic force. This is due to the antihero's engagement in the conflict, typically of their own will, rather than a specific calling to serve the greater good. As such, the antihero focuses on their personal motives first and foremost, with everything else secondary."

So Arnav's actions are incredibly volatile because until Shyam is confirmed as a Villain, Arnav is not revealed as a Hero.

And I find that dichotomy delicious. The audience is meant to be conflicted because that was a terrible moment and the show displays it as a terrible moment.

Also Arnav & Khushi have a different connection based on the story. Like a fated thread. They're both uncomfortable at the attraction they feel for someone undesirable.

And it's a multiple things that leads to that particular action. If Arnav met another woman under the exact circumstances who affected him just as much Khushi did and then have his wounds poked then, yes, the same reaction might've happened.

Women have very little responsibility over how a man behaves. Whether he's being romantic or abusive - it has nothing to do with a woman and all to do with the man himself.

Best,

JWB