#this is just a comparison of my characters eyes

[quibbs126]

And this here is today’s attempts at drawing Transformers, specifically TF One

I had this idea when I started today, since I knew the faces and noses were giving me trouble yesterday, to try this paintbrush style. The logic in my brain was that the movie was made in 3D, so logistically a more lineless style should work better, right?

I do admit, I think that the lineless style works far better in terms of the eyes and noses being the right shape, but I also admit my lines are probably a bit too soft and I may need to darken them. As well as get something good for the actual thin lines, since the paint brush on its own feels too thick, even at the lowest size

And you know what, since we’re here, does anyone have any Procreate brushes they can suggest for this sort of style? Right now I’m just using Flat Brush, but I wonder if I should use something else

Anyways, so this canvas was supposed to be more D-16, but partway through I figured I should try someone else to draw as well, so I decided Orion, so we could have the yaoi

Honestly my big problem with Pax here is that I don’t have a good comprehensive reference for him, while I can get by just fine with D-16. These were about the best I could get, and that last one I only got because these other two weren’t cutting it

I need high quality references of these characters, or at least specifically their faces. And I’m gonna need even more if I plan to draw Megatron and Optimus as well

But yeah, Orion’s here, and I was also having trouble getting the correct colors for him, because I’m stupid and used to flat colors. D was pretty easy considering he’s just greys, and a yellow tinted grey works just fine there as a grey (though I do admit I’m struggling with his eye color), but I feel like blue tinted Orion looks too blue by comparison. But I don’t know how to give him his proper face coloring without it being the same shade as D-16

I feel like my words aren’t making sense. But just get that Orion colors are a struggle. And still are, because I still don’t think that other grey is the right color

Also Orion has a significantly more complicated helmet than D, so that’s fun

I really wasn’t planning on Orion taking up so much of the space, but I needed to actually practice how he looked so that I could draw him easier. I had numerous attempts at D-16 prior, I could sort of understand his look, but I was flailing in the dark on Orion and needed the practice

I think another problem is that I don’t make him wide enough. But sue me, my character designs usually don’t have their bodies that wide/their heads that small. I’m working on it

I capped off this canvas by just deciding to make a small doodle of Orion kissing D, since why not and also I was too lazy to think of anything else to add

Where do we go from here? I have no clue, but hopefully it’ll go good

[stxneflxwers]

tough love.

⋯⁂ summary. he could use tough love, but only yours.

⋯⁂ a/n. this glorious idea hit me... i had to write it immediately !! also if it reads weird halfway thru, it's cuz my internet fucking died and i had to finish this at two different times D:

⋯⁂ characters. aventurine x gn reader.

⋯⁂ cw. post-penacony. all lowercase. reader is brutally honest. aventurine gets some tough love. hurt/comfort. you knew each other pre-penacony. some cussing. awkward confession. you give him a hug.

aventurine is tired. fatigued. exhausted.

penacony has been one brutally eye-opening experience after another for him, and many others. a part of him wants to sleep for so long, so so long. perhaps not permanently, but when he feels well enough to face the world again. maybe.

this place is a goddamn nightmare, he thinks with a wry and weak chuckle.

right now, he's standing in clockie studios theme park – a place he's grown to partly resent, partly appreciate. he stares down the repaired big screen with crossed arms as he leans against a wall. it's now so isolated here, but people have bigger fish to fry, he thinks. yet... he can't help but feel so small in comparison. briefly, he feels relieved he isn't in the spotlight.

"you know, that was pretty shitty of you. maybe the shittiest. but... maybe you've learned your lesson, hm?"

a familiar voice nearby echoes in his ears – your voice. your sweet yet painfully forthright voice. you're perhaps the only damned person in this unforgiving universe that could hope to understand his inner machinations.

now, he finds himself appreciating you more than ever. maybe he's ready to be seen, even just a little. but only by you.

he smirks, "yeah, maybe i did." he laughs weakly.

silence casts a thick blanket over you two. maybe for a moment too long.

"you know," you start again, "i've been incredibly worried over your dumb ass." you sigh, yet it's the sweetest sound to him.

"ah," he mutters shyly, "my bad." he can't stop smiling, but it's hardly one borne from his false bravado.

"...damn right it's 'your bad'," you frown slightly, the sight hurts to see. and then you stride up to him with tentative confidence, "...i missed you, too." you stand a couple of paces away from him.

"you know what? i missed you like hell too." he confesses, there's something mysteriously soft in his gaze as he stares you down. his gaze lacks its usual lightlessness, it's the first time you've ever seen a shimmer of something honest in him.

"you're finally changing, then!" you grin, finally closing the distance, "i believe in you, aven. i always have, i always will. and, well…" you hesitate, a rare occurrence. "…i'm honored to witness your growth and change. you're not immutable… and, inevitably, everything is mutable." you whisper.

aventurine can't stop himself from blushing.

he's not sure why he's blushing – is it the proximity? no, he's used to standing near you. is it your words? no, not that either. is it your mere presence? ...maybe.

you notice his pink cheeks immediately. and you grin.

"what's with that look on your face, huh–"

"i love you."

you damn near choke on your own oxygen. (not that oxygen is entirely a necessity in a dream.) now you're the flustered one. actually, both of you are flustered – his red face rivaling your surprised expression.

"i–" he starts, "uh..." his mouth hangs open. why in the absolute hell did he just blurt that out? "haha! got ya! you know me and my–"

"that wasn't a prank, so don't even try pulling that on me..." your surprise shifts into a half-hearted glare, and a little pout that he wants to kiss so badly.

"haha... o-okay, not a prank..." he raises his hands defensively.

and then there's naught but silence. very awkward silence. the most awkward silence. he's still blushing, you're still glaring. he glances around, as if searching for the nearest exit, and when his eyes land back on you, you've taken a step closer to him.

"i love you too, you reckless idiot."

you sigh as your expression softens, even your voice is as light as a halovian's feather. it's music to his ears. he cracks a small smile, it's genuine and bashful with the way it curves his lips.

"...and i know my love can't fill the holes in your heart," you whisper, "but... you'll let me at least help you out with putting band-aids on for now, right?" you smile, he can taste how bittersweet it must feel for you.

"heh," he laughs breathily, "as long as it's you helping out."

"good. i can't keep pushing my way into your world, anyway, so... please... let me stay a while longer." you pull him into a tentative, careful hug – holding him like he's made of glass. and maybe he is.

"i..." he trails off as a sudden surge of emotions threatens to overwhelm him, bubbling in his chest. "stay." he hides his face in your shoulder.

"for as long as you'll have me."

"then... always?"

"always."

[hyperfixationcritter]

I'm thinking it's representative of the fact that Mel's the only one onto Ambessa's shenanigans and actively trying to fight/defend against them.

We see Caitlyn consumed by vengeance and focusing on Jinx, falling back on her privilege and not caring who she hurts along the way. She's also paralleling Jinx in some ways as people pointed out so it fits the framing of their faces and their eyes. The red thread of her conspiracy board also frames her like someone caught in a spider's web which is fitting given Ambessa's influence on her.

Vi is completely blinded by Jinx's hands which speaks to her tunnel vision when it comes to her sister, trying to do the right thing and coping with all the changes in her life that have left her VERY vulnerable.

We also have Viktor, who's hand cover's one of his eyes and I'm actually not sure what that means just yet though we know there's gonna be some form of consequences to his hexcore revival and what that means for his livelihood. Also his priorities have put him in the literal lowest part of the Undercity, the furthest removed from Piltover but we know Ambbessa's going to make her way there in act 2.

In comparison, Mel's seeing the big picture in a way that the other characters simply aren't and her being taken out of Piltover at the end of act 1 is already showing how that's going to negatively impact things.

I'd argue it's kinda like how Ekko's approach to the Undercity's problems was the one to actually help heal/organize people to their benefit

vs Silco who got Piltover's attention/threatened them through Jinx's actions but method of advancing the Undercity hurt and exploited people in the process and on purpose

and Vander's method which tried to protect people by keeping the status quo/being stagnant because he was tired of fighting.

But whereas Ekko's insight deals with the societal issues within and between the Undercity and Piltover, Mel's insight deals with threats and factors OUTSIDE of the sister cities in regards to Ambessa, the Black Rose and the factor of the arcane itself which she contributed to the presence of through her sponsorship of hextech.

In both cases Mel and most likely Ekko/the nerd trio are stuck in the shadow realm/eeby deeby/wherever they are, lol, so i'm curious as to where that's going to lead the both of them.

I was initially gonna put these in the tags and then this got longer than I intended. But those are just my two cents on things.

On a side note, I'll also add that I'm on the fence about what it means for Mel to have the ring back on VS Ambessa who's holding it in front of her instead of wearing it. Like I've seen and can make speculations of the posters on their own but juxtaposed together I'm not sure what to make of it if that makes sense?

EVERY character has had shadows on their face in their posters, or their faces partially covered, but Mel's is not. Mel is surrounded by light and her eyes are not covered or shadowed. And then the hands? What do the hand placements mean? WHAT DOES IT MEAN.

[otiksimr]

No color but whatever.

[gloomy-prince]

one regret about my art style is that this is the biggest I can make Eddie’s eyes before he starts looking like a cat with dilated pupils

[dw-flagler]

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

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

"MHA has better characters,"

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

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

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

"a better plot,"

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

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

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

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

"better worldbuilding,"

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

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

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

"stronger themes,"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

No, the Villains don't get happy endings,

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

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

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

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

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

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

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

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

[skitskatdacat63]

Why is Fernando giving Mustafar!Anakin in this pic

[the-star-and-the-smols]

All of a sudden wanting to write Sean's first time seeing my s/i sizeshift like. I know I would be like I'm so big and ugly I look horrible I'm a freak I hope you don't think any less of me :( and he would be like WHAT ARE YOU TALKING ABOUT GORGEOUS I LOVE YOU YOU'RE MAGNIFICENT HOLY SHIT CAN I GET A HUG????!!✨✨✨

(Actually part of me is thinking it's really the first Extremely Obvious sign there's something very strange about my s/i and another part wants it to be the fact that when I'm around him I just fucking... glow because I'm experiencing the love. He's thinking I might be avoiding him at some points and he wonders what's wrong, maybe he said something too crude and pushed my buttons too far? He sees me crying and follows me because he has to apologize and explain himself, stumbling over his words as he peers around the corner and suddenly I'm glowing and also slightly shorter?? But he's not sure??)

[fnibble]

BIG BRAIN MOMENT FOR ME im not going to ascend astarion because my tiefling is a bard and then I can imagine a post-game future of lvl 18 WISH BABEYY

[knaveofmogadore]

Your idea that a character has to self flagellate themselves and grovel and become meek to be redeemed and loved is very Christian coded and extremely boring

[apollos-boyfriend]

i think you guys can probably tell but i’m soso happy with where my cpurp design stands rn……. i think i perfected him. i need to redraw a full reference sheet for them to make a full comparison with the original

[sesshy380]

Hiii ❤️ I’ve seen you mention your fursona a few times now; do you more info on them and maybe a picture or more detailed description of how they look? (and tooooootally unrelated but would you mind if anyone possibly drew them? :D)

I should warn you that this is an extremely dangerous question to ask me...because OMG AHHHHHHHH!!!!! *FANGIRL SQUEAL HEARD AROUND THE WORLD*

I would in no way ABSOLUTELY FREAKING GO WILD if someone drew her lol

So my fursona is my OC's 'other' forms. You can read more detail about her here. This gives a run-down of her 'furry' appearances (she has 2, one is as a standard black cat w/blue eyes, the other is a black leapard with raven wings).

I picture her anthro form wearing this (old sketch by me from 2006? before hands went to hell)(I got lazy when it came to her hair lol). The cloth areas are black, while the rest is gold (I'm a very simple person, but she's meant to fit in the YGO-verse so maybe the gold should have been more elaborate lol). The 'collar' is gold as well (since it's kinda hard to tell based off the pic).

I've played around with the idea of the anthro form having her hair, but I never got around to drawing that version unfortunately. However, there was a webcomic I used to follow called 'Flycoren Kausim' by RetroDragon. Kat appeared as a cameo in the later chapters, and I even got a rough sketch of her as a bonus from them. (Not my art, credit goes to RetroDragon).

Here's her cameos:

[hxhhasmysoul]

the chainsaw man people are starting to really make me irritated. no i’m not going to reblog your jjk 212 fanart when you write under it that megumi just got treated like aki. sorry to break it to you but megumi’s fate was first hinted in may 2018, half a year before the first chapter of csm was published. i don’t care fujimoto got there first. what’s going on in juju rn isn’t some riding the coattails of csm. it’s very clearly been the plan all along.

[roobylavender]

one thought before i disappear again but i really fail to understand damian fans' logic or interaction with canon on any level like your entire engagement with him as a character relies on a bastardization of every person around him. i don't see what worth there is in comparing how dick and bruce are comparatively written as parental figures in damian's life when your primary basis for analysis is canon from a writer who believes (1) dick shouldn't be in a relationship with kory bc he's happy-go-lucky and hates drama; and (2) bruce's life as a hero naturally culminates in fascism. neither of these are good faith takes on the characters involved so how can you place any value in how either of them are portrayed to interact with damian by way of that. and obv this doesn't even get into the plethora of talia issues which i have essayed about to the point of exhaustion. like idk i get that i can't make people hate a character obv lol and for many damian fans that attachment is there bc they read about him when they were young but i still don't really understand what there is about damian to be invested in once you're an adult who realizes he is holistically built on character assassination and racist stereotypes that he is inseparable from. like you can't really analyze his interactions with anyone without the context for those interactions being shoddy writing of someone else and i know that can happen in comics a lot but it happening in isolation is different from it forming the entire basis for a character

[sylviareviar]

"You're...not what I expected..." [ :3c ]

"Welcome to the Church of Despair."

Standing before the woman in the black mask was an angelic figure, draped in tattered black robes and covered head to toe in grime and filth. Beneath the robes were a mess of bandages, stained red with her blood, aglow in the light cast by the stained glass windows on all sides of the chapel. Her wings and hair were easily the most radiant and visible parts of her, as they were the most beautiful and valuable things she had to offer. The angel stood barefoot on broken glass shards and colorful pebbles littering the ground, her blood soaking the carpet.

Her face was not unmarred, either. Where one would normally see sweet, soft freckles, instead were small, thin scars peeking out from underneath a massive bandage covering one of her eyes. The other, a signature gold like all other Shadows possessed, stared blankly at her guest, unblinking and eerie, almost ghost-like.

The angel bowed, spreading her wings to show them off, but as the feathers moved, a hint of blood seeped out from somewhere within. Yet the pink-haired Shadow didn't seem to notice, and merely stood straight once more.

"Were... you not expecting me? Why else would you have come to this church if not to find me?"

[timbourinedrake]

Drawing parallels between Bruce's grief over Jason and Heathcliff mourning Cathy. The destruction of self and everyone around them, the guilt of feeling responsible for their death and being haunted by it every waking moment.

The same comparison can be made with Cathy and Jason if you really dig in to it, the two being complex characters who are so full of life and passion that they can't help but leave a lasting mark on everyone who meets them. Despite the pain Gotham caused Jason, he still loves it and is drawn to it and is almost the very personification of the city, much like Catherine has the very spirit of Wuthering Heights within her.

'Why am I so changed? Why does my blood rush into a hell of tumult at a few words? I'm sure I should be myself were I amongst the heather on those hills' Jason's return to Gotham almost reflects the same sentiment as this, he's trying to return to the person he once was, return to a time where he was happier without the anger and trauma he carries now.

Both stories show how easily love and hate can get twisted, how love isn't always positive, that sometimes it can be a destructive, obsessive force. It would be better for them to let the love go and move on, but instead they'd rather watch the other burn, because love is misery and if they do not suffer- is that really love?